Customer Reviews

Renée Fleming - Night Songs

5 star:		(12)
4 star:		(4)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

I was disappointed with this recording. Fleming is a fantastic singer with a beautiful voice, which is displayed on this recording. However, I felt that the French selections were handled too heavily. The subtlety and flavor of the French literature seemed to be missing; I found myself wanting to turn the album off the first time because it was just too heavy! The German selections were interpreted much more appropriately. Her album "the Beautiful Voice" is a much better representation of Fleming at her best and in music that suits her style.

I have long been aware of Ms. Fleming, her strengths and weaknesses as an artist, but never before have I been so completely captivated by any of her recordings as I was by this recital. Only once, in Strauss' "Ruhe, meine Seele," does she even hint at the arch coyness that often intrudes on her operatic interpretations. Otherwise, she is here a superb musician, artist and interpreter, giving her very best to a mostly very worthy program (though why she recorded the inferior Rachmaninoff song "Zdes Khorosho" instead of Strauss' superb "Die Nacht" I don't know). And Jean-Yves Thibaudet, who I have only recently discovered, is a superb accompanist in the tradition of Alfred Cortot. (Indeed, the Debussy songs made a fascinating comparison to the versions that Cortot recorded with Maggie Teyte.) By the time one hears Ms. Fleming's voice soaring passionately through "Ne Poy, Krasavitsa" (known to most of us as "O cease thy singing, maiden fair"), one realizes that this is a recital for the ages. And oh, how I envy Carolyn Zaremba for hearing this recital in person!! I have yet to hear Fleming in person; she never comes to Cincinnati, and I can't afford to fly to major metropolitan centers to hear her. But at least I have recordings like this to savor.

Oh yes, regarding the sonics. This album struck me as rather "funny sounding," with slightly unclear highs muddied by a weird kind of boxed-in reverberance. Then I saw, in the back of the booklet, that it was recorded at "The Hit Factory," a pop music studio. And undoubtedly engineered something like a pop record. I'm sorry, but this is an insult to both Fleming and Thibaudet, who deserved better. You can overcome some of the muddiness by boosting your treble control, but really this shouldn't be. Is this the way all classical vocal recitals are going to be engineered in the future? To sound like pop albums? Still, I give it five stars because the artistic quality is so incredibly high.

Renee Fleming's latest album, NIght Songs, is a treat to anyone who appreciates one of the finest singers singing some of the finest song literature written. Differing from her latest CDs released, which contain promarily music taken from the operatic repertoire, Night Songs explores the much loved repertoire of the art song, more specifically, the 20th century art song. This completely unexpected, but highly desired CD is a sampling of some of Ms. Fleming's finest singing. From her beautiful interpretation and expression in the French melodie of Gabriel Faure and Claude Debussy (a highlight being Debussy's, Apparition,) to the much loved lieder of Richard Strauss. Each track offers the perfection, which one does not think can get any better. Yet again, Ms. Fleming has created a masterpiece which belongs in everyone's musical library. The masterful artistry of Ms. Fleming's accompanist Jean-Yves Thibaudet just adds the hint of sheer colaboration, between the role of singer and pianist. Their appreciation and respect for this music is evident in every musical moment produced. Highlights include Cacilie (Strauss,) V molchani nochi taynoy and Ne poy krasavitsa (Rachmaninov,) and the beautiful Beau Soir (Debussy.) A must have! Brava, Brava, Brava Ms. Fleming!

A perfect disc for a midsummer's evening - or for any season of the year for that matter - NIGHT SONGS is one of those too rare recitals that is based on a theme, executed by musicians who not only are able to stand on their own but who are also able to commit to each other in a true collaboration. This is an intelligent, eloquent selection of songs by varied composers all of whom wrote languorously about the night and its mystery. From Faure's 'Apres un reve' to Debussy's 'Beau soir' through some newly discovered treasures by Joseph Marx like 'Nocturne' and 'Selige Nacht' to the better known repertoire of Strauss and Rachmaninov which gives us newly rethought versions of 'Ruhe, meine Seele!' and 'Cacille' as well as the indescribably beautiful Rachmaninov songs. Fleming and Thibaudet are in fine form and the communication in the various languages is strong. Only one quibble of significance here: the miking is so close to the singer that it often covers what usually is a perfect blend of piano and voice. Bit perhaps that is the fault of my system....

Actually, I am reviewing the performance I saw last night at Davies Symphony Hall in San Francisco - Renee and Jean Yves live and performing the repertoire on this CD. It truly was thrilling! She sang SIX encores and the audience didn't want either of them to leave! We might be there still if the performers and the audience weren't exhausted and replete with music, music, music! Ms. Fleming's singing was rich and wondrous throughout. The way she floated a high pianissimo made my hair stand on end. And her ability to go from that high directly into a deep, rich bottom note was stirring. Few sopranos have that particular deep, chocolate, earthy quality and I love the heft and sensuousness it gives to the music, particularly in the love poetry. Jean Yves Thibaudet is one of my favorite pianists. I actually started out with his recording of Bill Evans' music (terrific), but went on to buy his Chopin and Debussy. Seeing and hearing these two together was an experience I'll never forget. What a night!

What a magnificent collection of Flemming doing what she does best, pure singing. We so often see her performing Operatic literature, both new and classic, but it's refreshing to see her pay homage to the wonderful Melodie as she has so successfuly done in the past with Lied.
True to her discovery nature she has put forth an outstanding collection of standards (Faure, Debussy) everyone should have in their recording library as well as some not so standards (Marx, Rachmaninov)
A nice intimate setting to become familiar with some beautiful music sensitively provided by Thibaudet.

I think Ms. Fleming is great in many operas. But here, she sounds just careless: she mumbles the text when singing piano, when singing forte she makes ugly changes to the low register (to pass them for expressiveness?), she breaks the line with unnecessary swells, she fills the whole thing with sugary portamenti and swoops (to pass them for sensuousness?). The figure of an elephant in a glass store came to my mind in almost every track. A pity that Thibaudet let himself get mixed in this. The power of money...

It was thrilling to hear songs from Rachmaninov on this album. And the Strauss and Marx pieces give almost a contemporary feel (considering they ARE almost contemporary composers).

Thibaudet plays with a sensitive, emotional touch and was a wonderful choice as a pianist on this album.

My reason for a less than perfect scoring was due to the almost harsh edges of Renee Fleming's singing due to her unyielding control. For a voice so full of warmth and depth to be so forcefully held back, the result is a tension that the ear pushes to resolve, but never does. I wonder how she would sound if she would allow more freedom in her voice.

I love Ms. Fleming's creamy, almost over-ripe soprano, this program however is not the perfect vehicle for it. On the other hand, Mr. Thibaudet, with his elegant and percise approach is right at home. I do admire Ms. Fleming's adventurous choice of material here as in the past her choices have been quite safe and standard issue. I hope she continues to grow as an artist and does not fall prey to all the hype around her.

Fleming's diction and sense of style in these pieces is not good. I love Fleming's work, but to be honest this CD is pretty bad. If I were anyone of the coaches listed in her linernotes I would be offended that she did so, because she obviously didn't follow their advice. What makes it worse is that she doesn't sound like she is in good voice. Her husky tone is not representative of her beautiful, creamy, lucious sound that we are used to. SORRY to be the messenger!!!