Customer Reviews

Renée Fleming

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The title to my review is the reason why you should buy this CD. I feel that every album Renee Fleming puts out should just be called the title of one of her best albums: "Beautiful Voice" and with each successive album, she should just add a Roman numeral. I believe that would make this Beautiful Voice III or IV. Regardless, I say this, because that's what Renee Fleming has. In every way, she has a beautiful voice. Someone in their review asked, "Do we really need another recording of "O Mio Babbino Caro"? My answer is yes. Every recording soprano should record the basic and famous repetoire. This is how we make comparisons of singers. It is also how we get to hear great works given the special touches of each individual. Something too MUST be said of Charles Mackerras. Here is probably one of the best living conductors that just goes around making incredible music but not making a huge fuss or name for himself. He conducts the orchestra to perfection, in effect, making a perfectly fit glove for a perfect hand. The songs on this CD are ones that have touched many opera fans many times over. Presented on this disc, they are here to touch you again (in beautiful Decca sound)

This, Ms. Fleming's latest recital for London/Decca, is a wonderful glimpse of a "full lyric" soprano in her prime. Her interpretations are heartfelt and all are imbued with an incredible amount of humanity, she inhales life into this gallery of characters. Granted, this is a bit of a compilation disc in that everyone has heard most of these arias sung by at least three different "divas"; however, in some cases, these interpretations will make you forget all others.

She begins with "O mio babbino caro", possibly the shortest aria in all of the soprano repertoire, but certainly one of the most emotional. Her Lauretta is plaintive and gorgeously sung. Initially, I found the audible breaths taken after nearly every phrase distracting but after comparing this aria with the others on the disc and seeing that she has absolutely no trouble with aspirated singing elsewhere, I realized they functioned merely as an effective means of expression. Immediately following this resounding success is another in the form of "Un bel di", the frequently excerpted aria from Puccini's MADAMA BUTTERFLY. It is shorn of its recitative, Ms. Fleming opts instead to dive directly to the core of the character. From this reading, the listener gets the sense that Butterfly knows she's been deserted but speaks optimistically of her lover's return as a means of consolation to herself and her maid, Suzuki. Ms. Fleming's technique is so secure that there is no hint of vocal strain as she builds elegantly to a wonderfully executed climax. Up until now, my favorite versions of Liu's "Signore, ascolta" have been those done by Callas and (Leontyne) Price, respectively. Callas because she delivered the goods dramatically speaking, and Price because hers was a version that was beautifully vocalized. Renee Fleming somehow is able to do both, delivering beautiful pianissimi while never losing focus of the aria's dramatic heft. And wait until you hear that final note. It is so long that you will be gasping for her, it only ends when the orchestra does. Whether this is as it was originally written or just a flourish I do not know, but it is thrilling nonetheless. The excerpts from MANON are without peer and she sings the last "adieu" of "Adieu, notre petite table" with so much pathos that it will make you weep. I'd be remiss if I did not mention the last track on the CD, Verdi's "Bolero". She starts out a bit tentatively but the timidity soon vanishes as she takes long phrases with excellent breath control and confidence. She finishes with a thrilling, open-throated high D that you have to hear (many times!) to believe. Her diction is admirable throughout and Sir Mackerras lends able support, on occasion you'll think he must be communicating with Ms. Fleming telepathically they work so well together.

Of course, no CD is perfect and, that being the case, I'd be dishonest if I didn't mention that her versions of "Je veux vivre" (her voice is too heavy and the fiorature is executed with more than its share of sluggishness) and "Casta Diva" (her use of legato in this aria is seamless but that is about all I can say that is positive) are not ideal; however, these are only blemishes on a thoroughly satisfying and beautiful recital.

I have never listened to opera -- the vocal styling of Loreena McKennitt is the closest I've come to enthusiasm for a singing storyteller and my favorite pop female vocalist is k.d. lang.

I heard Renee Fleming perform Shenendoah on the Today show on New Year's Day. I was mesmerized by her voice and knew I wanted to buy "Renee Fleming", despite my disinterest in opera.

Again, I had never listened to opera -- nothing about it appealed to me. Until I listened to this album. Something about this voice -- an utter purity and clarity and richness that sends shivers running through my bones. This is Beauty! There is no other word.

I know nothing about these arias or the operas from which they come, I know nothing about how previous singers have interpreted these arias. I only know that my body responds with a delight I can't explain when I listen to this CD.

A mutual opera fan and I were discussing the pressing issue of "Diva Recitals" the other day. Do we really need another recording of a Diva singing arias which every single Diva since time in recording history has already sung and recorded? How many "O mio babino caro's" can any single collection handle? On the strength of this recording, I have to answer: "Bring on the Dancing Divas."

Let's start with the repertoire: with the possible exception of Manon's first act arietta and the aria from Verdi's "Simon Boccanegra" every opera fan is likely to have at least four different recordings of the arias on this disc readily at hand. These pieces have been done to death. Why would anyone with the international stature of Renee Fleming wish to record them?

The answer lies simply in artistry. When listening to this recital, one aspect stands out even above the stature of the singer: the sheer artistry of Sir Charles Mackerras and the London Philharmonic. Together they breathe life into the music, far beyond what might be expected. Listen to the incredible detail in Butterfly's famous aria and the music seems almost new. This quality never falters throughout and can indeed be described as phenomenal, as is the quality of the sound recording.

Be that as it may, however, the disc is yet another vehicle for a star singer and Fleming rises to the occasion brilliantly. Unlike her "Beautiful Voice" disc, which was really too much of a vehicle for the title, Fleming here brings something special to every character and begs the question: is there anything this woman cannot do at the moment? Verismo opera has certainly not been her trademark, yet she takes to it as if to the manner born. For me the "Adriana Lecouvreur" aria alone is worth the price of the disc and the rest of the Italian inculsions are not far off. She has the uncanny ability to capture character within a few notes. This is no empty "Fleming sings Fleming" experience - rather it is a collection of characters brought to life by the same artist. The French repertoire is closer to what we know she is singing at the moment. Her "Manon" cries out for a complete recording, although this is unlikely, given the recent issue on EMI with Pappano and the Alagnas. The rendition of Michaela's aria from "Carmen" has to be the most exquisite in living memory and Gounod's Juliette is suitably rendered: not just another display of waltzing coloratura. For the final three tracks Fleming turns to "bel canto", where so many singers are often discovered as "bel cannot". Verdi's "Simon Boccanegra" does not fit exactly into this mould, but Amelia's aria certainly calls for pure "bel canto" singing. Norma's infamous "Casta Diva" is sung masterfully and raises serious questions about a future assumption of this role by Fleming. Why was the cabaletta not recorded, though? As a suitably jaunty finale she sings the famous Bolero from "I Verspri Sicilliani" in its original French guise and includes a perfectly edible top E to round off proceedings. "Brava!" I scream. "More!"

For the devoted fans this disc proves that we are not misguided in our devotion: wonderful things are happening to the Fleming voice, such as the added colours in the middle and bottom range. She also proves that her lyric coloratura abilities are beyond question - where have you heard such wonderful trills recently, apart from Gruberova? Above everything else, though, this recording offers a perfect introduction to the standard soprano repertoire for people who might as yet be unfamiliar with it. You'd have to search far and wide for anything better.

Renee Fleming's self-titled CD of French and Italian opera arias is proof that a singer can be expressive, even profoundly so, while never making an ugly sound. Fleming is in glorious voice here: her sound is warm, golden, agile, and absolutely even throughout its extensive range, with a silvery high register. Yet Fleming also succeeds in suggesting a different character in each aria, much as she did on her superb "Great Opera Scenes" recording with Sir Georg Solti. Her Butterfly (in "Un bel di") is a young woman indulging in a hopeful, romantic daydream. Her Wally ("Ebben? Ne andro lontano") is sad yet determined, the "golden clouds" ("nubi d'or") of which she sings beautifully evoked in her golden timbre. Her Juliette is breathless with anticipation in "Je veux vivre"; and in Adriana Lecouvrer's first aria she conveys a touching humility. Her Manon (in two excerpts from Massenet's opera) is also a fully realized character. And all the while, Fleming sounds ravishing; she is truly the Tebaldi of our time, though with greater skill in florid singing. Her legato in "Come in quest'ora bruna" is seamless, her pianissimi in "Signore, ascolta" stunning. She is also one of the only sopranos I've heard (Joan Sutherland is the other) whose tone suggests both the golden and the silver light of the moon in "Casta diva." This CD represents some of Fleming's finest work from the very prime of her career.

This is a recording of, well, things that every soprano records. A rather eclectic selection, certainly, comprising some things that are in Fleming's repertoire and some that aren't. Her recitals thus far have all been a great success - her Strauss disc is a real treat - but this is a less specialised, more mainstream recital. Could she be accused of selling out to the "popular classics" market? Only by the worst kind of opera snob. So gorgeous, musical and expressive is her singing of these - rightly - well known works, that this recording demands to be heard. I've heard most of her recordings and I'm probably inclined to say that this is the best yet. A couple of criticisms to get out of the way: the choice of repertoire isn't very imaginative. It would be lovely to hear some more unusual Massenet or Gounod, for example. And a couple of the numbers don't really do her voice justice - she hasn't the girlishness for Juliette, for example, and it's hard to imagine her as a Musetta or a Lauretta. Butterfly and Liu, however, are right up her street, and she brings much to both of these roles. Also revelatory is the small slice of Verismo repertoire - Nedda, Adriana and La Wally are all encompassed without strain (not easy) and with ample expression. Those who criticise her "passivity" on stage may be pleasantly surprised by her engagement here. Her Manon is well known and she is right inside the character. It's nice to have a record of her Amelia Grimaldi; her Micaela shows just how glorious this aria is when sung by a full and juicy lyric soprano. How perfect she would be in this role; though I doubt anyone could persuade her to sing such a part nowadays. And the highlights? For me, there are two real jewels on this disc. Firstly, her "Casta diva" is an object lesson in Bellinian legato. Her soft-grained, wistful sound is somehow ideal for this aria, and it goes as well as I have heard it for some time. A Norma from Fleming? Probably not yet, but it's a tantalising thought for the future. And her Bolero from Sicilian Vespers, which sits so beautifully in French, also goes like a dream - the finale is particularly brilliant. Supported by sensitive accompaniment from Sir Charles Mackerras - the kind of conductor it's all too easy to take for granted - and smart support from the London Philharmonia and London Voices, this recording is a fabulous way to remember quite why these popular numbers are so - well - popular.

Just when it seemed Renee Fleming had transcended all expectations for musically intelligent, ravishingly beautiful renderings of repertoire ranging from Handel to Previn with a special crown for Strauss opera and songs, up pops this disc of oldies but goodies that usually are tacked on to programs as surefire encores. And once again we hear luxurious sound, sensitive interpretaion, and passionate communication from this gifted soprano. She not only sings with an seamless line of magnificent sound - she makes each aria a vignette of the whole opera. Another wondrous gift from a gracious and gifted artist, partnered here by the sensitive Sir Charles Makerras. She pases the ultimate test with bravas and honors!

Though I am an educated musician and have been a serious lover of classical music for many years, I've not been much into opera. However, this disc is something wonderfully special. The beauty of it has gone straight to my heart, and I have to confess to mopping my eyes more than once. Every repeat play of this disc enthralls me more. Renee's voice is beautiful beyond description and I wouldn't part with this CD for 50 times the price!!!!!

Bob

Renée Fleming continues to demostrate to the music world that she is one of the true divas of today's contemporary scene. Her latest CD have beautiful interpretations of Italian and French arias. The recording gives a showcase for Fleming's technique, effortless high notes (up to E) and luscious sound. The Puccini arias are all gloriously sung, even when they sound more concerned with vocal beauty than with dramatic expression. The verismo arias give a greater balance, from the desire of liberty of Nedda in "Stridono Lassù" from Leoncavallo's Pagliacci to the sadness of Wally in "Ebben?...Ne andrò lontana" from Catalani's La Wally. The French arias are perhaps the best of the CD. Manon is probably Fleming's best role. Her interpretation of the Gavotte on her previous release, The Beautiful Voice, is perhaps the most beautiful version of this aria I have ever heard. On this recording, Fleming shows that she has all the requirements for the role, from the playfulness and effortless high notes in "Je suis encor tout étourdie" to the heartbreaking pathos of "Adieu, notre petite table". Micaela's aria from Carmen gives Fleming the opportunity of giving a fresh outlook to a beloved chestnut. The last arias of the CD, by Verdi and Bellini, are ravishingly sung, showing the soprano's skill in the florid belcanto style. All of this vocal glamour is accompanied by a very nice booklet with photographs that display Ms Fleming's physical beauty. Buy this CD without hesitation!

Arias we wanted to hear her sing, arias we knew she would sound marvelous singing. You could ask, "haven't these been done before?" Not with this passion, devotion, and style. Critics will wonder, experts will analyze, but fans will enthusiastically enjoy. This CD is a worthy successor to "The Beautiful Voice." Magnificent!