Three faces of Violetta
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
Renée Fleming
171 pieces since 2005 — in 36 roles, at 19 companies, most often at Metropolitan Opera.
171
pieces
36
roles
19
companies
22
years
By role
Marschallin 5
Rodelinda 4
Violetta 4
Armida 3
Countess 3
Thaïs 3
Daphne 3
Lucrezia Borgia 3
Ariadne 2
Blanche DuBois 2
Clarissa Vaughan 2
Arabella 2
Margaret Johnson 2
Manon 2
Rusalka 2
Pat Nixon 2
Nettie 1
Tatyana 1
Rosina 1
Sandrina 1
Susannah 1
Louise 1
unknown 1
Virginia Woolf 1
Marguerite 1
Alaide 1
La Folie 1
intermission commentatress 1
Hanna Glawari 1
Georgia O'Keeffe 1
Gabriel/Eva 1
Ellen 1
Countess; Thäis 1
Countess Rosina 1
Countess Madeleine 1
Anna 1
By company
Metropolitan Opera 31
Lyric Opera of Chicago 2
Boston Symphony Orchestra 2
Metropolitan Opera Orchestra 1
Wolf Trap 1
Washington National Opera 1
San Francisco Opera 1
Royal Opera House 1
Richard Tucker Gala 1
Orchestre de Paris 1
Opera Orchestra of New York 1
Opéra de Paris 1
National Symphony Orchestra 1
Los Angeles Opera 1
LA Opera 1
Imperial Theater 1
Houston Grand Opera 1
Festspielhaus Baden-Baden 1
Carnegie Hall 1
31 pieces as Metropolitan Opera — stats above show all coverage for Renée Fleming.
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Women of the Hours
In its first go-around in November 2022, Kevin Puts’s The Hours (libretto by Greg Pierce based on the novel by Michael Cunningham and the screenplay for the Stephen Daldry’s 2002 film was a box office bullseye for the Metropolitan Opera.
Unhappy ‘Hours’
The film of The Hours failed to effectively weave together the novel’s trio of threads of interiority about suicide and secondarily literary creation. I wondered if an opera would stand a better chance at achieving that? Based on Tuesday’s diva-encrusted stage premiere of Kevin Puts and Greg Pierce’s The Hours, its creators didn’t pull it off either.
“So much for traditional sweetness and charm”
On this day in 1998 the Metropolitan Opera presented a new production of Le nozze di Figaro featuring Cecilia Bartoli as Susanna.
Seria effect
While it must be admitted that Elza van den Heever doesn’t have an ideally warm and agile Handel voice, she evidenced fierce control over her instrument and skillfully built a powerful portrait of the courageous Rodelida fighting for her survival.
Kaleidoscopic maestro
Saturday marks the centenary of Julius Rudel’s birth which Trove Thursday celebrates with Le Coq d’or, Faust and Ariodante, a triple-bill showcasing his impressive versatility, featuring Beverly Sills and Norman Treigle, two of the most important artists he nurtured during his leadership of the New York City Opera.
Love, loss, and what I sang
Sunday is Handel’s 335th birthday, an event Trove Thursday celebrates with Rodelinda, Regina de’Longobardi, one of the composer’s most popular works.
Singing through
A near-full house attended the Jessye Norman Memorial Celebration at the Met on Sunday afternoon, the auditorium packed with family, friends, colleagues, and fans of the late soprano, who passed away on September 30 of this year.
Et voila l’histoire
To mark Beverly Sills’s 90th birthday (May 25, 1929) “Trove Thursday” offers the late diva’s acclaimed Massenet heroine opposite her ideal Des Grieux, Alain Vanzo.
Mit leichtem Herz und leichten Händen
Der Rosenkavalier (on Blu-ray and DVD) is from the Met HD broadcast which also happened to be the final performance of the run, becoming a true souvenir of the farewells of its two leading ladies.
Final curtain
“Trove Thursday” pays tribute to Dmitri Hrovostovsky with a broadcast of his final new role, Rubinstein’s The Demon.
The frailty of everything earthly
If everything you see is great, you are either new to opera or chronically easy to please.
Through a glass vaguely
Any production of Der Rosenkavalier that can transform the usually excruciating first half of the third act into a hilarious romp already has my vote.
Poor wan Rusalka
The winter 2014 final run of the Met’s first/only Rusalka production (a new one is scheduled in a few seasons) seemed both a nod to the theater’s past and a hint of its future.
When I have sung my songs
Soprano Renée Fleming is certainly making the role of the Countess in Richard Strauss’s final opera Capriccio the focus of her late-career years.
Destination moon
The legend of the mermaid is ancient, and recently scientists have theorized that these legends might have arisen when humans encountered marine mammals such as whales, seals, or sea lions.
Pout and about
I could feel my face (to say nothing of my spirits) sink as I opened an envelope from La Cieca containing a new Decca CD
If I only had a harp
Capriccio skates along on a fine line between a fascinating idea-driven debate about the purpose of art in the wider world and a rather fussy narrow debate about text and music interesting only to those interested in opera as theatre.
Rodelinda, regina del primo piano
I half-wanted to dislike it; my expectations were very low. Renée Fleming in the Baroque, after her very uncertain recent outings in bel canto! Let’s face it; this year, her Rossini (Armida) and Donizetti (Lucrezia Borgia) did not cover her in glory. How, at this HD relay on December 3, would she cope with Handel’s […]
The Bland Witch Project
The premiere of Mary Zimmerman’s production of Giacomo Gioachino Rossini’s Armida was arguably the most controversial event of the Metropolitan Opera’s 2009-2010 season. The performances represented Armida’s first run at the Metropolitan Opera and had been commissioned at the behest of mega-diva Renée Fleming. The soprano had scored a triumph in concert presentations of the […]
“Ghosts” of honor
John Corigliano‘s first and second symphonies won the Grawemeyer and the Pulitzer, respectively; the premiere of his Third Symphony wasn’t even reviewed by the Times. His score for The Red Violin won an Oscar™; his score for Edge of Darkness ended up on the cutting room floor. Is there an American composer at once more […]
German, te togli al campy…
1817 was a fertile and diverse time for 26 year old Gioachino Rossini. It opened with his last true opera buffa, La Cenerentola, continued with his most important semiseria, La gazza ladra, and ended with two operas, which, although both nominally belonging to the seria genre, could not be more different from each other.
Once on that island
Our Own Gualtier Maldè (right) escaped today’s Armida dress rehearsal at the Met with his wits intact. He reports:
The People’s Courtesan
Like Liza Minnelli at the Palace or Nomi Malone in Goddess, Renée Fleming‘s Thaïs is better understood as diva event than Gesamtkunstwerk. It’s an opportunity to watch a star lady do her voodoo in a work that exists largely to showcase her glamour and appeal.
American Beauty Rosenkavalier
[La Cieca is delighted to introduce a new reviewer, @scazzasofija.] I found Rosenkavalier (Met, Oct. 13) to be mostly sublime. My quibbles come from a preference for Kleiber’s tempos. I found that de Waart was waving his arms as fast as he could for the beginning, but I think the prelude and up until the […]
is it the girl or is it the gown?
“The campy diva lover in me should exult at the credit in the program ‘Renée Fleming‘s Costumes by Christian Lacroix,’ but in fact the couturier’s frocks were something of a mishmash. Best was a shimmering gold sheath that set off Fleming’s first entrance and trim waistline to perfection; worst was a rumpled ivory silk ballgown […]
divan decadence
Our Own Gualtier Maldè reports: Not every opera has to be a masterpiece. I couldn’t subsist on a steady diet of Tristan und Isolde, Die Zauberfloete, Fidelio, plus Otello, Falstaff et al. Frankly the occasional light comic bonbon or trashy but fun melodramatic tunefest makes a nice palate cleanser. I am talking Adriana Lecouvreur, La […]
i want to liveblog!
Tuesday morning: A further report from Lindoro Almaviva: Over all the night was a success d’estime. It was a Renee worship night and we got just that. I am sure you will be able to talk in better terms about the singing or lack thereof. My impression is that Renee had an “acting” night, as […]
requiem and rehearsal
La Cieca’s spy reports on the Met’s pre-season:Â
The Inner Voice of Reason
You may well be surprised to hear La Cieca say this, cher public, but she’s bellowing a lusty “brava” to none other than Renee Fleming. On yesterday’s matinee Met broadcast of Rigoletto, Fleming took on a role associated with Geraldine Farrar, that of intermission commentatress. One of the first questions she lobbed at Joseph Calleja […]
Liveblogging the Volpethon
11:40: Then Rene Pape matched Hvorostovsky, then Zajick matched (topped?) them both, then who the hell had the idiotic idea of doing the Easter Hymn with a mezzo who can’t sing it and the chorus apparently stoned or else in another city? (Oh, and did you notice the long, noisy scene change afterward? Vintage Volpe.)11:05: […]
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).
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