Renée Fleming - Renée Fleming: Bel Canto
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Artist: Renée FlemingPerformer: Renée Fleming
Composer: Vincenzo Bellini
Composer: Gaetano Donizetti
Composer: Gioachino Rossini
Conductor: Patrick Summers
Orchestra: Orchestra of St. Luke's
Performer: Kristine Jepson
Performer: Coro del Maggio Musicale Fiorentino
Edition: Music CD
Audio: English (Original Language)
CD Release Date: 2002-08-27
Music Label: Decca
Product features:
- FLEMING RENEE BEL CANTO
- Bellini/La sonnambula: "Ah!..se una volta sola"
- Bellini/La sonnambula: "Ah!..non credea mirarti"
- Bellini/La sonnambula: "Ah! non giunge uman pensiero"
- Donizetti/Maria Padilla: "Abbracciami"
- Donizetti/Maria Padilla: "Il piu tenero suon d'arpa morende"
- Donizetti/Maria Padilla: "Ah! non sai qual prestigio si cela"
- Rossini/Semiramide: Introduzione
- Rossini/Semiramide: "Bel raggio lusinghier"
- Rossini/Semiramide: "Dolce pensiero di quell'istante"
- Bellini/Il pirata: Introduzione
- Bellini/Il pirata: "Ah! s'io potessi dissipar le nubi"
- Bellini/Il pirata: "Col sorriso d'innocenza"
- Bellini/Il pirata: "Oh sole! ti vela di tenebre oscure"
- Rossini/Armida: "D'Amor al dolce impero"
- Rossini/Armida: "Gli augei tra fronde e fronde"
- Rossini/Armida: "La fresca eta sen fugge"
- Rossini/Armida: "Ah! si, godete amanti"
- Donizetti/Lucrezia Borgia:"M'odi, ah m'odi, io non t'imploro"
- Donizetti/Lucrezia Borgia: "Figlio!...Figlio!...Ola, qualcuno!"
- Donizetti/Lucrezia Borgia: "Era desso il figlio mio"
Music reviews of Renée Fleming: Bel Canto
Music Review: A feast of florid Fleming!
Rating: 5 Stars
It was with much anticipation that I awaited the UK release of this disc, having read so many opinions within these pages. Before progressing further, I must state that Ms Fleming is one of the most generous artists of her generation, with an electric stage presence, and possessor of a painfully beautiful voice. Having heard her at Covent Garden and in recital elsewhere, I can attest to the fact (therefore quashing accusations of technical enhancement) that her tone is golden, the voice well supported, with every register perfectly balanced with no breaks. It is a large voice, certainly larger that Te Kanawa's at her peak.On this disc, Ms Fleming takes on the mantle of virtuoso singer, and does so with such chutzpah that I am convinced that she has an amazing bel canto technique. On detailed listening, I am stunned that so many have taken it upon themselves to criticise. She has a trill (something Caballe never had), the ability to "crown" an aria with a stratospheric interpolation (ditto Caballe), a beautifully rich, honeyed, middle and chest voice, and a gorgeously pliant upper register which could stretch a phrase to infinity. Given these attributes, a winner is almost guaranteed.
On appraising this disc, it is worthwhile considering the history of the music and its interpreters. We should remember that Isabella Colbran, Rossin's favourite prima donna, was a contralto rather than full blown soprano, the same applying to Guiditta Pasta, for whom Norma and Sonnambula were written. This suggests that as with the coloratura of Horne of Berganza, the tone will not be crystalline, but imbued which a rich glow, which Fleming provides in spades, which previous reviewers have neglected to admit. The voice types of these singers would have meant that "corone" and the general tessitura the likes of Sills or Sutherland would have employed for embellishment could not have been sustained; in this light, it seems that both Sutherland and Sills, though breathtaking in their way have misunderstood the original conception of these pieces.
From Colbran and Pasta, fast-forward to the mid-twentieth century to the great Callas, perhaps a re-incarnation of Pasta, if the description of the latter by Stendhal is to be trusted. I worship at the altar of this great artist, but even at the beginning of her career, the voice was "covered", inflexible, abrasive above the stave, and not ideally steady. One is certainly excited when hearing her sing challenging florid music, but all too often this quickening of the pulse is caused by the fear that she may not get to the end of the aria in one piece, even in a recording one is familiar with. It has always been stated, and rightly so that Callas was a singing actress, and that the glories are to be found in interpretation, not necessarily in the voice; why when Ms Fleming gives us both is she branded a pretender? She is certainly a master of the declamatory recitative, and invests florid singing with meaning.
One might compare the Fleming's achievement on the disc with Sutherland, but comparisons mean nothing; Sutherland was the greatest technician of the 20th century, combing a naturally beautiful voice of near Wagnerian size with a coloratura technique of astounding brilliance. Sadly, she was never much more than a voice, though what a voice! Comparisons in the other directions are equally laughable; imagine Sutherland's Marschallin. The only high-point I can imaging would be the trio, where the words can barely be heard anyway.
And on to Sills, a singer to whom I have never warmed. A completely different set of qualities, where comparisons are risible.
Fleming gives totally individual performances on this disc, even though there is a slight tendency to "coo" self-indulgently, but for this she can be forgiven. Even though some of her coloratura is aspirated, legato is seamless, with no apparent "pinched" tone which others have noticed.
It is thrilling to hear a large, healthy voice tackle these works. This disc is many times more satisfying than Ms Gheorghiou's recent foray into this repertoire. Her brittle, harsh voice with constant "borrowing" from Callas and a technique several divisions lower than Fleming's makes for a disc to be avoided; the same cannot be said of Fleming's.
The recorded sound is luminous, although balanced between orchestra and voice not always ideal, but this is due mainly to Patrick Summers' "efficient" conducting. The Florentine chorus are a little rough, and some orchestral playing not totally accurate, but this all adds to the feeling of a spontaneous musical event rather than a digitally manipulated recording.
This is a disc which further champions Ms Fleming's astounding versatility. One may think of another "versatile " American soprano, Cheryl Studer, who wrecked her voice and worry for Fleming's future. Let us hope her intelligence will save her from a similar fate.
This disc is a banquet of bel-canto singing, and for me the best vocal disc of the year.
Description of Renée Fleming: Bel Canto
FLEMING RENEE BEL CANTOSurely Renée Fleming's soprano must be one of the most beautiful voices before the public today. Though renowned for her interpretations of Mozart, Strauss, and Verdi, as well as for her commitment to contemporary music, she says that the bel canto repertoire has always been central to her career. On this recording, which features scenes and arias from operas by Bellini, Donizetti, and Rossini, she proves that she has achieved total, effortless technical mastery of the uniquely difficult vocal writing characteristic of the style. Every note is perfectly placed. Her runs, including scales over a huge range in both directions, are as clear and evenly paced as a chain of exquisite pearls. Her leaps always land in the center of the pitch. Her intonation is flawless.
Fleming also displays her emotional affinity for the drama, pathos, and lyricism of the music and her ability to identify with her larger-than-life heroines. Chosen from familiar and unfamiliar operas, the music is beguilingly beautiful, ranging from peacefully pastoral to darkly menacing. However, some listeners may feel that Fleming's tendency to overinflect, overphrase, make long pauses, and put swells on long notes, especially in the slow arias, undercuts the music's simplicity and the directness of her expressive communication. The performances are based on the latest scholarly research into the "bel canto" style regarding historically correct ornamentation (only in repeats) and the problems of balancing textual fidelity with imaginative freedom. The Orchestra of St. Luke's gives splendid support, with outstanding solos, especially from the winds. --Edith Eisler
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