Oh my goodness. This is so funny. Although sometimes Fleming makes me cringe, I was also thinking the same way like Divinia von Drakensberg-Montalbon. I think we will appreciate Fleming in 25 years when she no longer sings and we are all so old that we will be talking about the golden days of the past.
I think the clip starts off well. I actually like her golottal attacks. And the quality of the voice is still appealing and it’s nice to hear a singer with a real trill. But the passagework in the second half of the clip is sloppy and that has nothing to do with the poor recording quality. I’ve heard her toss of much more secure fioratura than she does here.
An artist fulfills the requests of teh composer on paper, and doesn;t degrade, or debase it.
Her musical stylings are not of the Donizetti period. NONE of the ornaments are correct for that style, so what is the artist?
When we have some distance from her overbearing PR, she will be vilified for having destroyed one of the best Mozart and Strauss voices to sing in this period. Horrible waste.
Wish some of the critics of Rennay would put up details of their own credentials. It takes more than just being an opinionated old opera queen to be a real expert.
Oh my goodness. This is so funny. Although sometimes Fleming makes me cringe, I was also thinking the same way like Divinia von Drakensberg-Montalbon. I think we will appreciate Fleming in 25 years when she no longer sings and we are all so old that we will be talking about the golden days of the past.
I think the clip starts off well. I actually like her golottal attacks. And the quality of the voice is still appealing and it’s nice to hear a singer with a real trill. But the passagework in the second half of the clip is sloppy and that has nothing to do with the poor recording quality. I’ve heard her toss of much more secure fioratura than she does here.
La Cieca:
Only an intemperate idiot would be foolhardy enough to designate anything as your very best snark. But No. 39 must be way up there!
I’ve just listened to the clip twice, and I’m doubting myself (something I rarely do in matters musical, frankly).
The reason is that I, a non-fan of Renée from her earliest days in New York, find this the most interesting singing I’ve heard her do.
To be in a minority with regard to such a heartily despised performance give me qualms, but … so be it.
Ecco un artista, you say about Renee?
Are you kidding?
An artist fulfills the requests of teh composer on paper, and doesn;t degrade, or debase it.
Her musical stylings are not of the Donizetti period. NONE of the ornaments are correct for that style, so what is the artist?
When we have some distance from her overbearing PR, she will be vilified for having destroyed one of the best Mozart and Strauss voices to sing in this period. Horrible waste.
I, a non-fan of Renée from her earliest days in New York, find this the most “interesting” singing I’ve heard her do.
My dear, I couldn’t agree with you more.
Wish some of the critics of Rennay would put up details of their own credentials. It takes more than just being an opinionated old opera queen to be a real expert.
I for one would love to see her do some Strauss at the Met. Perhaps an Arabella. Has she done Arabella at the Met?
The bel canto doesn’t show her best voice. I am always in favor of doing what you do best. But, that’s just me.
the real experts ARE old opera queens,. who and where have you been? lol
Caliber- in their own minds.