Renée Fleming - Kudos

Consistent mastery delivered with warmth and humour

The Sydney Morning Herald


Opera House, August 31


by Peter McCallum


Renee Fleming sings with a voice of immaculate finish and coloured richness, and uses it with expressive flexibility and lucidity that is almost without peer.


She captured the three songs of Ravel's Sheherazade with the most delicately sensual fluidity, leaning on each voluptuously rounded vowel like a meaningful caress.


These three songs are music of magical, exquisitely refined enchantment, evoking the allure of imagined lands (the "Asia" of the first song), distant sounds (the flute of the second) and disdainful strangers (in the third).


Fleming has consistent mastery over the entire range, yet each part has its own distinctive colour, like a river that gleams differently when the sun catches different parts of it.


The upper range opens out out with radiance and brightness while lower notes have the rich edge and resistance of polished stone.

Pianist Richard Bado​ realised the textural and harmonic piquancy of the piano part deftly, belying its considerable complexity.

In the haunting Bailero from Canteloube's Chants d'Auvergne​, a call-and-response song depicting lovers across a river, she attenuated the answering voice with soft clarity imparting a sense of lonely distance.


The lullaby Brezairola​ was of lulling sweetness. The first half ended with the Jewel song from Faust. Its silent representation as a showstopper of the formidable Bianca Castafiore in Tintin comics no doubt has encouraged many to imagine it quite a blast, but Fleming tossed it off with light caprice.

After regal blue in the first half, Fleming donned resplendent white for an deeply thoughtful delivery of the Marschallin's soliloquy from Strauss' Der Rosenkavalier​, followed by stirring affirmation, ending with wild elation for Zueignung.


A bracket of Italian songs ensued. In an aria from Mascagni's l'Amico Fritz, she held long expressive notes of searing intensity with a bright edge rounded by vibrato to give an effect of cavernous depth and expressive force.


Tosti's Aprile​ was graciously shaped with generous warmth, while Puccini's O Mio Babbino Caro had fine simplicity.


Fleming finished with four songs from The King and I, which she sung with microphone, not to increase the volume which needed no assistance, but to remove operatic projection from the sound to get closer to what Rogers and Hammerstein intended.

Yet the unassisted operatic sound suits her best. Such complete vocal mastery is rare yet all was delivered here with homely warmth and occasionally sharp humour.

Renée Fleming delightful in madcap 'Living on Love'

Renée Fleming delightful in madcap 'Living on Love'

Photo: Joan Marcus/Boneau/Bryan-Brown 

April 20, 2015 | By Mark Kennedy

NEW YORK (AP) — What if you produced a play about soccer players and managed to get Pele to be in it? Or convinced Ruth Bader Ginsburg to star in a show set in a courthouse?

That's what the folks at "Living on Love" have pulled off with the madcap comedy about an opera singer, featuring Renee Fleming.

The four time Grammy Award winner is a delight in the show that opened Monday at the Longacre Theatre, able to lovingly goof on her refined world with an insider's grin.

"Please, call me — Diva," she introduces herself.

The gentle play by two-time Tony Award winner Joe DiPietro is based on the play "Peccadillo" by Garson Kanin. DiPietro, who wrote the book of "Memphis" and "Nice Work If You Can Get It," has a knack for writing for daffy characters and this play has a half-dozen of them. It feels comforting, like an old black-and-white film, and yet there's a newness here, too.

Set in a Manhattan penthouse in 1957, the play centers on an aging soprano, played by a bejeweled Fleming, and her lothario Italian conductor husband who prefers to go as simply Maestro. A fantastic Douglas Sills plays him like an impish boy beneath an exterior of shocking slicked-back arrogance and heavily accented English.

These two have been together for 30 years and are on the downswing career-wise. Bookings for her are drying up and he is being displaced by Leonard Bernstein. ("Maestro have-a more talent in teeny tiny pinky!" he thunders.)

Their marriage reaches a crisis point when a ghost writer — he calls them "spooky helper" — is sent to facilitate the Maestro's autobiography. But the gloriously nerdy ghostwriter, played by Jerry O'Connell, falls under the Diva's spell, requiring a new nervous ghostwriter (a great Anna Chlumsky, with spunk). The Maestro and Diva now have rival autobiographies cooking and potential new lovers to boot.

One of the play's joys is the performances of two stuffy servants — the exceptional Blake Hammond and Scott Robertson — who sing along to arias as they elegantly change the props between scenes or answer bells perfectly in sync. Their rendition of "Making Whoopee" is hysterical.

The play is directed with comedic aplomb by three-time Tony Award winner Kathleen Marshall, more often associated with big musicals. The material could be accelerated and made into a farce, but Marshall never lets the comedic elements upstage the slightly looney characters themselves.

For a play, "Living on Love" is full of music, as Fleming or the servants sing snippets of "Barber of Seville" or "Bolero" or "La Boheme." Having Fleming herself belt out notes — and self-pompously believe her voice has the ability to cure the disabled — is delicious.

The play ends with the only ending possible — although an unexpected detour is taken by the servants. Stick around after the curtain closes on this satisfying, sweet comedy and you'll find a cast that returns to mug, unable to help themselves.

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The art of song, the art of Renée Fleming

The art of song, the art of Renée Fleming

February 25, 2015 | By Tim Smith

The Baltimore Sun

There was something wonderfully reassuring about Renée Fleming's recital Monday night at the Kennedy Center.

To begin with, the soprano, joined by pianist Olga Kern in this Washington Performing Arts presentation, reaffirmed her vocal radiance and uncommon ability to hold an audience in the palm of her hand (or in the elegant folds of her inevitably refined couture -- she and Kern both put on quite a fashion show).

For those whose favorite sport is Find the Flaws in the Diva, I suppose they will have spotted a top note that didn't blossom fully or a brief touch of droopy intonation. What I heard was an artist who, after more than 25 years on the scene, still retains a good deal of the creaminess in her timbre that first caused ears to perk up, an artist still energized by words, an artist who still delivers.

This occasion underlined, above all, the fact Fleming remains anything but a generic soprano (her distinctive portamento alone assures that).      

In an astutely chosen program, she also reasserted the value of the art song, a genre that never really gets enough respect, let alone love, these days. It was great to hear an artist of this stature devoting her attention to lieder and Russian song, instead of popular arias, and doing so in a large concert hall with a packed house.

Extra marks for turning the first half of the program over to Schumann's song cycle "Frauenliebe und Leben" ("A Woman's Love and Life"). As Fleming noted in remarks to the audience, the cycle, which she sang early in her career, seems to have fallen out of favor over the decades.

She suggested that part of the problem could be the texts, which reflect a dated view of human relationships. Then again, we make plenty of allowances for unfashionable depictions of women in opera. I suspect it's simply part of the sorry, steady decline in appreciation for lieder.

Schumann was at his most inspired when he fashioned the eight songs that form this cycle, which traces a woman's experiences of falling in love at first sight, having her affection reciprocated, getting married, bearing a child, and facing her husband's unexpected death.  It's a great work, and a great opportunity for an artist with imagination and feeling.

 (When Barbra Streisand was flirting with classical music way back when, I kept wishing she would investigate this cycle. She could have interpreted the heck out of it.)

Fleming burrowed into the material with a keen appreciation for the eloquent curves of the melodic lines and the evocative power of the poetry.

The soprano's extra warmth of tone in the fourth song (the 19th-century equivalent of "Put a Ring on It"); her exquisite nuances of phrasing in the time-suspending, closing verse of "Susser Freund"; and her visceral way of communicating the weight of the loss in the final piece -- these were among the highlights of this sensitive performance.  

I was a little less impressed with Kern's playing, which struck me as perfectly accurate, but not always multidimensional. The piano postlude, which, in recalling the cycle's opening material, provides a welcome glimmer of hope and renewal, sounded especially plain.  

The pianist was in her element, though, when attention shifted to Rachmaninoff, whose songs are as challenging and rewarding for an accompanist as they are for a singer.  With technical elan and considerable range of color, Kern provided a firm foundation for Fleming's often quite rapturous vocalism.

The soprano's darkly beautiful low register emerged at several points to compelling effect, and her long-breathed phrasing proved admirable (notably in "Twilight" and "A Dream"). There seemed to be, understandably, just a little more drive and determination from Fleming when, in "Spring Waters," she reached the line "Spring is coming." 

It wasn't a bad idea to give Kern a solo amid this portion of the recital -- Rachmaninoff's own gorgeous transcription of his song "Lilacs" -- and the pianist delivered it nicely. But I wish the set-up hadn't look so awkward, with Fleming walking off stage beforehand. 

The remainder of the (printed) program was devoted to Strauss -- "My desert island composer," Fleming called him. Surely if this soprano was born to sing the music of one composer above all, it's Strauss.

She chose an interesting sample of his lieder that balanced well-known with less often encountered, and gave to each a great deal of vocal velvet and expressive intensity. This was particularly true in "Ruhe, meine Seele" and "Liebeshymnus," which heated up the hall considerably.

The fully operatic "Die heiligen drei Konige aus Morgenland" found Fleming in rapturous form. Kern, in the unenviable position of duplicating at the keyboard what Strauss did so much more spectacularly in his orchestrated version of this song, played the majestic coda with admirable breadth.

"I'm warmed up now," Fleming said before launching into encores, which included more Strauss -- a soaring "Cacilie" -- and Gershwin's "Summertime." The soprano seemed to get the entire hall, ushers and all, to chime in perfectly for a chorus of "I Could Have Danced All Night," the kind of disarming experience Fleming can deliver so effortlessly.

There was also an account of "O mio babbino caro" so melting that it became much easier to face the nagging cold outside afterward.

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