Renée Fleming

Giacomo Puccini (Artist), Jules Massenet (Artist), Georges Bizet (Artist), Alfredo Catalani (Artist), Ruggero Leoncavallo (Artist), Francesco Cilea (Artist), Charles Gounod (Artist), Giuseppe Verdi (Artist), Vincenzo Bellini (Artist), London Philharmonic Orchestra (Artist), Sir Charles Mackerras (Artist), Renée Fleming (Artist), London Voices (Artist)

Product Details

• Audio CD (September 26, 2000)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Decca
• ASIN: B00004YLU5
• In-Print Editions: MP3 Download
• Average Customer Review: 4.5 out of 5 stars See all reviews (64 customer reviews)
• Amazon.com Sales Rank: #20,459 in Music (See Bestsellers in Music)

  Popular in these categories: (What's this?)

  #12 in	Music > Classical > Featured Composers, A-Z > ( L ) > Leoncavallo, Ruggiero
  #21 in	Music > Classical > Featured Composers, A-Z > ( B ) > Bellini, Vincenzo
  #30 in	Music > Classical > Featured Composers, A-Z > ( M ) > Massenet, Jules

Editorial Reviews

Amazon.com essential recording
Surely, Renée Fleming has one of the most beautiful voices to be heard anywhere today. It combines velvety warmth, creamy richness, soaring radiance, and flawless purity, and seems to flow out without effort, every tone impeccably centered and in tune, capable of almost too much variety of color and nuance. Fleming's breath control is incredible; she can spin out long, arching phrases and build up climaxes with thrilling intensity. The program of this recital displays Fleming's vocal and dramatic gifts to full advantage, and includes both familiar and lesser-known arias from Italian and French operas. Although some of these are not in her repertoire, she clearly feels close to them. The three opening Puccini favorites from Gianni Schicchi, Madama Butterfly, and La Bohème are a bit fussy and over-inflected, hardly suited to the characters' simplicity; but, from then on, Fleming seems completely at one with both her tragic and her lighthearted heroines. She captures their warm inwardness, rapture, passion, ecstasy, and desperation; darkening and lightening her voice at will. Her top notes soar gloriously, her trills laugh. The orchestra is splendid, supporting her all the way and sounding wonderful. --Edith Eisler

Customer Reviews

Most Helpful Customer Reviews

13 of 13 people found the following review helpful:

5.0 out of 5 stars Delineation Between Characters and "Golden Age" Singing, December 8, 2000

By	Malcolm A. Bish (Rochester, NY United States) - See all my reviews

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.

16 of 17 people found the following review helpful:

5.0 out of 5 stars My first "opera" CD, January 5, 2001

By A Customer

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.

32 of 38 people found the following review helpful:

5.0 out of 5 stars Why? Because it is her., October 20, 2000

By	Trevor Gillespie "sol_man" (San Jose, California United States) - See all my reviews (REAL NAME)

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)