Prom 61 - 30.08.17: Renée Fleming sings Strauss

[Nick Armstrong]

Great singer saw her sing Violetta at the ROH a few years back thought she might be a little old for the role but she was very good .

Probably best heard/experienced live - never warmed to any of her recordings particularly. But one of the best nights in the theatre ever was Handel's Alcina at the Paris Opera, in which she was electrifyingly good in the title role - pretty overwhelming. I snapped up the Erato recording with the same forces (Arts Florissants, Christie, Susan Graham, Natalie Dessay...) but took it back, couldn't believe how far short it fell of the live experience, on all fronts and especially RF's performance.

[Barbirollians]

I do not have many of her recordings - there is an excellent Mozart record with Mackerras as I recall which I shall now dig out .

[kindofblue]

This was also my first Prom. The overall sensory experience was wonderful, the feeling of space, the ceiling, the colours... I had booked on the strength of wanting to hear the Barber, a piece I am very fond of, and the chance to see and hear one of the most famous singers in the world. I enjoyed the opening piece, it was fresh, light on its feet, shades of Messaien early on, then some Reich-like rhythms later. Always a challenge to attempt to capture a real place in sound, but I am now more tempted then before to visit Liguria. I will seek out more of Torrodi's work.
As for Renee Fleming, I'm going to part company slightly with some other posters. Don't get me wrong, it was sumptuous and a wonderful spectacle, but there were moments when I felt we were edging towards the saccharine. The overt wrapping oneself in the [very beautiful!] cloak, to emphasise warmth and nostalgia - this is a work that is looking back fondly, but many other details in the text were lost. This is a very demanding piece of writing, it is prose and not poetry, and some of it simply didn't get through at all. [Dawn Upshaw's voice is of course much lighter, but the crispness of expression serves the music better I feel]. Renee Fleming threw herself into this completely and, to coin a phrase, did it her way, which meant some spine-tingling highs but other passages where a greater articulation wouldn't have gone amiss. The 'Morgen' addition though made for an excellent contrast, with its fewer words and longer lines, she was stunning in this.
Sakari Oramo conducts as though plugged into the mains, and to great effect. He managed to wring everything possible out of the Nielsen 2, there was real bounce and vitality in the playing, along with the beautiful quieter passages.
Although it's a bit of a trek from Bolton to London, I'll most certainly be back, a truly memorable evening.

[Nick Armstrong]

This was also my first Prom. The overall sensory experience was wonderful, the feeling of space, the ceiling, the colours... I had booked on the strength of wanting to hear the Barber, a piece I am very fond of, and the chance to see and hear one of the most famous singers in the world. I enjoyed the opening piece, it was fresh, light on its feet, shades of Messaien early on, then some Reich-like rhythms later. Always a challenge to attempt to capture a real place in sound, but I am now more tempted then before to visit Liguria. I will seek out more of Torrodi's work.
As for Renee Fleming, I'm going to part company slightly with some other posters. Don't get me wrong, it was sumptuous and a wonderful spectacle, but there were moments when I felt we were edging towards the saccharine. The overt wrapping oneself in the [very beautiful!] cloak, to emphasise warmth and nostalgia - this is a work that is looking back fondly, but many other details in the text were lost. This is a very demanding piece of writing, it is prose and not poetry, and some of it simply didn't get through at all. [Dawn Upshaw's voice is of course much lighter, but the crispness of expression serves the music better I feel]. Renee Fleming threw herself into this completely and, to coin a phrase, did it her way, which meant some spine-tingling highs but other passages where a greater articulation wouldn't have gone amiss. The 'Morgen' addition though made for an excellent contrast, with its fewer words and longer lines, she was stunning in this.
Sakari Oramo conducts as though plugged into the mains, and to great effect. He managed to wring everything possible out of the Nielsen 2, there was real bounce and vitality in the playing, along with the beautiful quieter passages.
Although it's a bit of a trek from Bolton to London, I'll most certainly be back, a truly memorable evening.

Ta v much for the review, blue. Regret being out of London and missing this one.

[BBMmk2]

I must admit, I have never warmed to this singer's voice.

[Stanfordian]

I must admit, I have never warmed to this singer's voice.

Hiya maestro

Renée Fleming - a very fine artist especially in Richard Strauss. I also admire her Schubert. In my view a wonderful singer who is blessed with fine acting ability.

[Pulcinella]

Hiya maestro

Renée Fleming - a very fine artist especially in Richard Strauss. I also admire her Schubert. In my view a wonderful singer who is blessed with fine acting ability.

That may well be true, but it would be helpful if we could hear the words occasionally.
Rather too creamy a voice for me, as indeed Dame Kiri's could be in similar repertoire.
RF's recent recording of Knoxville was criticized in one of the reviews I read for not being clearly enough enunciated, which made me skip this concert: far too nice a piece to ruin in that way.

[Stanfordian]

That may well be true, but it would be helpful if we could hear the words occasionally.
Rather too creamy a voice for me, as indeed Dame Kiri's could be in similar repertoire.
RF's recent recording of Knoxville was criticized in one of the reviews I read for not being clearly enough enunciated, which made me skip this concert: far too nice a piece to ruin in that way.

Hiya Pulcinella,

Few performers are without shortcomings of some form; including Renée Fleming but it doesn’t stop me admiring her voice and stage craft. A lot is down to personal taste. Many of the top singers around today are often guilty of requiring improved diction.

[Pulcinella]

Hiya Pulcinella,

Few performers are without shortcomings of some form; including Renée Fleming but it doesn’t stop me admiring her voice and stage craft. A lot is down to personal taste.

Oh, sure!
No offence intended!

[Stanfordian]

Oh, sure!
No offence intended!

Certainly none taken!

[David-G]

Some people around me wondered if the lights going on and off was a special feature of the production!

The announcement you refer to was audible in the hall (not loudly) and seemed to be the system they use outside the auditorium to give the five minute warning - or to solicit trade in Proms memorabilia at door 6.

This was mere bagatelle compared to the lighting problems in Act 1 of La Clemenza de Tito on Monday. The soloists had to put up with spotlights abruptly turnng on and off them during arias for no apparent reason. Would have well put me off - though as the singers did their best to sing on regardless this would not have been evident at home.

[Lancashire Lass]

Indeed - but Lancashire Lass did say that this was her first encounter with RF. Given her (RF,'s not LL's - always best not to go there! ) prominence, it is not altogether unfair to perhaps expect the behaviour of her peers - you know, the "What do you mean, I can't take my rifle on your aeroplane??!! This is Political Correctness gone mad!", or ""I asked for Evian and you've given me Perrier; how can I possibly perform under these dreadful conditions?!" sort-of thing.

Delighted to hear that Ms Fleming has a Ferrier-esque down-to-earth attitude - which seems to be much more the norm these days.

Thanks Ferney and no offence taken, Maclintick -- it is just that RF is often introduced as "the great" (which I guess she is). But what with being an all-American pin-up, doing crossover as well (like with Alfie Boe for the Golden Jubilee) -- it must take a lot of self-discipline for it *not* to go to your head.

Unfortunately now I can't stop thinking of the Gerontius I saw two years ago, where Lady Rattle's "because I'm worth it" hair flicks got a deserved pasting from this forum. Admittedly not histrionics, more vanity, but even so ... thank God RF isn't like that.

[pureimagination]

To answer the question about the audible noise during the Nielsen [post #9] - this was the walkie talkie from a Proms staffer accompanying an ambulance crew who were attending a fainter in the arena. Oh the concert?! Wonderful.

[Stanfordian]

Thanks Ferney and no offence taken, Maclintick -- it is just that RF is often introduced as "the great" (which I guess she is). But what with being an all-American pin-up, doing crossover as well (like with Alfie Boe for the Golden Jubilee) -- it must take a lot of self-discipline for it *not* to go to your head.

Unfortunately now I can't stop thinking of the Gerontius I saw two years ago, where Lady Rattle's "because I'm worth it" hair flicks got a deserved pasting from this forum. Admittedly not histrionics, more vanity, but even so ... thank God RF isn't like that.

In my view Magdalena Kožená is a quite wonderful singer and she can flick her hair at me as often as she likes. If fact, a couple of years ago, one sunny September afternoon in Wannsee she did at me, quite often!

[Cockney Sparrow]

Agreed, wonderful in the Prom BPO St Matthew Passion.
But she was unsuited to the role on Gerontius - not sure if that is of no moment to you, Stanfordian. I don't keep track of who exactly turns up to have a dig whenever that work is mentioned.
(Didn't notice hair flicking in Birmingham but she was wearing a silky full arm type dress (has to be Angelic - it was white)and I tj