Renee Fleming is absolutely wonderful in this song of heart-aching beauty, taking the piece at a tempo where she can express it at its most exquisite perspective.
Bar none, Schwarzkopf, TiKanawa, Norman - I’ve heard so many and love so many for different reasons, but technically, interpretive and sheer beauty of voice and her command of Strauss, Fleming has it over all others for me! I only wish she had a recording of Salome (I don’t think she ever sang it), our loss!
To those who are criticizing - to those who clicked 'not like' - to those phillistines who think inane condescension, whining, and false sophistication are appropriate responses to this song and these artists - I have a question. do you honestly think that I'm impressed?
Kann ich nur bestätigen. Ich liebe - im Alter wieder - Hermann Hesse und besonders diese Vertonug von Richard Strauss. Allerdings möchte ich dies eher als "Beim Geldverdienen" betiteln...Leider..."Musikindustrie" eben
I first heard this in the movie "The Year of Living Dangerously" and was enchanted. I've heard numerous renditions of it since, but this performance is unsurpassable, brilliant in every respect.
Me too! I find it interesting that in the final credits at the end that they misreported that the song was "September," one of the other "Four Last Songs."
@@toddburton6570 At least they tried. Check out the Eddie Murphy comedy "Tradinig Places" where the opening credits play Mozart's overture to The Marriage of Figaro, crediting "incidental music" to Elmer Bernstein
In all the glory that this recording and interpretation is, I must give kudos to the Concertmaster. I don't think I have heard that violin solo quite as exquisite. Most plow through it like they are late for church...
Same kudos. I love the violin as an instrument. I love to study their different voices... I was just sitting here crying at the beauty of this violin when I realized this man must be in love with "her" too. You always hear about the singer and conductor being perfectly paired but this man and his instrument were magic. I'm glad he found "her".
Very nice. Especially that violin solo. Never heard it that delicate. It's almost like it's whispering it's own story. Renee Flemming has a wonderful instrument and isn't scared to make some unusual coloration's. Still at moments it sounds a bit too much like she's singing an opera instead of a song. Darkening her sound as if she's not going to wake up again after this nights sleep. It sounds terrific but a bit misinterpreted. Then again I don't know which interpretation she was giving....
This is just devastatingly beautiful. She's carrying on Schwartzkopf's tradition, but is still uniquely her own person. I really don't know if this is better than Schwartzkopf's recording with Szell and Berlin (her last one) but it's getter close to as good. You can't say enough about this--you just flat run out of superlatives. It excites me so much to hear someone carrying on the great German lieder singing tradition. Now all that Schwartzkopf and Fischer Dieskau have given us won't be lost.
My goodness.. me too ! I am a huge fan and couldn't believe we got tickets to hear her. So wonderful in that smaller, intimate venue. Her voice was fading by then but it was still so perfectly poised and had so much to give... happy memory. Love Snape Maltings. In interval, we stood outside and a gaggle of geese flew noisily overhead in the dimming light almost as if in appreciative agreement!
Questi americani sono incredibili, partono x ultimi ed arrivano x primi.Eppure la Lirica non era il loro forte,ma la Fleming ha smentito tutti! Meravigliosa, con Stauss e' la number 1.
...almost identical to Norman's tempo and Eschenbach really has the measure of the piece, on par with his magnificent Bruckner interpretations...Fleming has never sounded better...)
So many comparisons of the sopranos who sing Strauss. It seems the fact that some of the renditions are performed in live concerts, where as others are made in a studio allowing more "perfection" if that makes sense?
Just wonderful. Im a te kanwa fan and luv the individual differences to both of their interpretations! Renees vocal ability is like she hoding back this wave of sound! Luv both 4 this peice 4 different reasons
Nun der Tag mich müd gemacht, soll mein sehnliches Verlangen freundlich die gestirnte Nacht wie ein müdes Kind empfangen. Hände, laßt von allem Tun, Stirn, vergiß du alles Denken, alle meine Sinne nun wollen sich in Schlummer senken. Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben.
Nun hat der Tag mich müd gemacht, Soll mein sehnliches Verlangen Freundlich die gestirnte Nacht Wie ein müdes Kind empfangen. Hände, laßt von allem Tun Stirn, vergiß du alles Denken, Alle meine Sinne nun Wollen sich in Schlummer senken. Und die Seele unbewacht Will in freien Flügen schweben, Um im Zauberkreis der Nacht Tief und tausendfach zu leben.
To criticise Renee Fleming is of course stupid, she is a wonderful singer, no doubt about that. To say that she is the best in the 4 Last Songs is equally foolish, there are other current sopranos as good, if not better in this music, Solie Isokoski being my favourite and Christine Brewer gave a marvellous performance at this venue a couple of years back.
not all singers have money notes. money note in most cases being a glorious, high, long held note. or some sort of glorious vocal climax. by far not all had them. even some legendary singers didn't, the most famous among those being callas. (i am sorry, but she didn't.) sutherland had them. pavarotti. netrebko, sorry, had them as well. quite a few singers had them. and fleming was one of them. there is one specific recording of her singing the rusalka aria, and the high b she sings there is just out of this world.
what is extraordinary is that Strauss created such moving music from some rather banal poetry.The Hesse poems are really unexceptional ( if you want something brilliant about autumn then read Rilke Herbsttag) with little originality. There seems to be a big debate about the best interpretation with most preferring Jessye Norman-me too, but I cant help feeling that Richard Strauss might have liked this version- the German "schwelgen" comes to mind-a sort of wallowing in emotion and the beauty of the voice.
die grossen Dichter des 20 jahrhundert in deutscher Sprache -Rilke Trakl Brecht-leider gehort Hesse nicht zu ihnen, obgleich er ohne zweifel ein grosser "Romanist" ist. Ich weiss nicht ,wie gut Ihre kenntnisse der deutschen Sprache sind , aber vergleichen sie folgende zwei Gedichte (ubrigens , manche Dichter sind erfolgreich vertont worden, auch wenn die Gedichte selbst nichts Besonderes waren zB Wilhem Muller) Mittag im September Es hält der blaue Tag Für eine Stunde auf der Höhe Rast. Sein Licht hält jedes Ding umfaßt, Wie man's in Träumen sehen mag: Daß schattenlos die Welt, In Blau und Gold gewiegt, In lauter Duft und reifem Frieden liegt. - Wenn auf dies Bild ein Schatten fällt! - Kaum hast du es gedacht, So ist die goldene Stunde Aus ihrem leichten Traum erwacht, Und bleicher wird, indes sie stiller lacht, Und kühler wird die Sonne in der Runde. Herbstag Herr, es ist Zeit. Der Sommer war sehr groß. Leg deinen Schatten auf die Sonnenuhren, und auf den Fluren lass die Winde los. Befiehl den letzten Früchten, voll zu sein; gib ihnen noch zwei südlichere Tage, dränge sie zur Vollendung hin, und jage die letzte Süße in den schweren Wein. Wer jetzt kein Haus hat, baut sich keines mehr. Wer jetzt allein ist, wird es lange bleiben, wird wachen, lesen, lange Briefe schreiben und wird in den Alleen hin und her unruhig wandern, wenn die Blätter treiben. in my opinion one of these poems says something strange and original about the human condition , the other reads like a 20th century piece of Anacreontik-.
Vielleicht lassen sich die grossen Dichter/Gedichte nicht so erfolgreich vertonen, Ich fand diese kritik zu Rilke Vertonungen interessant .(Bemerkungen auch zu Hesse darin) www.spotifyclassical.com/2012/02/rainer-maria-rilke-in-music.html
Cher Proust, You have a point. Thats what i was implying below. The masters of the Lied form seem on the whole to avoid the best poetry, although the Schumann Heine settings are an exception ,as are the Schubert settings of the poems from Wilhelm meister (Mignon and harper songs).However you can understand why Mahler went straight to the "simple" Volkslieder of Des Knaben Wunderhorn.
Beautiful overall and notably regarding Fleming - zamjachátjeljnaja (splendid)!!! My only complaint here concerns the concertmaster - too soft relative to the accompaniment in his solo, also doesn't have all the inflections as precisely as I could wish. It may seem odd that I'm focussing on that violin-solo at the expense of so much else (love the opening low-string entries here!!!); however, it's the final touch that's needed to get this listener to cry - and in its absence costs a star...
@acanthe83 Je suppose que je suis d'accords pour la pluspart, mais tu dois croire que personne ne peuvent toucher Rene Fleming dans ces jour et âge. Elle est une du meilleur dehors en actuellement, n'est-ce pas?
Maybe I was a little too harsh on the concertmaster - the balance today seems better; however, some of the inflections (especially the 16ths in the phrase prior to the triplets) don't quite suit my taste. Otherwise, Fleming is vocally AND physically angelic!!! I hope her character matches (one doesn't want a shrew or demoness to be present that way either!). Also, Eschenbach is a warmer conductor compared to Abbado. Yes, overall this reading beats the Luzern (Abbado) one (Fleming remains =)
@GracenotesGalore plus légère: c est évidemment très bien, le morceau étant tellement difificile mais je trouve que Mme Flemming manque de soutien dans la vocalise; qu elle fait des portamenti nuisibles à la beauté de la mélodie lorsqu elle monte dans l aigu et que ses descentes manquent de legato bref que sa ligne vocale n est pas toujours assez souple; il me semble aussi qu elle accélère parfois légèrement: enfin; ses graves ne sont pas tres beaux et à moitié poitrinés
This didnt "schwebe" - fell right asleep at the beginning - self indulgent ponderous tempo - boring despite Fleming's glorious voice. Probably the fault of the conductor (is it Eschenbach?)
Thus is far superior to the singer's performance which aired on PBS a number of years ago. The voice was of course bseatiful the Fleming was barely engaged and the camera was focused on her face which never reflected the text . She could have been doing a tooth paste ad for all the involvement--or lack of. Later she performed the set in Italy with the Santa Cecilea conducted by Pappano. What ever happened during that interim was extraordinary. At last the beautiful voice was joined with the text. No, she will never be a kunst diva but all in all she has had a remarkable career and kept her voice in tact--indeed she hardly sounds as if she is (ungallant of me) the 55 she is said to be. Alas the Italian clips were removed from You Tube.
Partisan to the point of blindness, Flemingphiles overlook the one essential problem with her pathetically all purpose approach to everything she does, be it on the gramophone, the recital platform or the lyric stage, which is that one-fifths of the emotions she seeks to express are dishonest, feigned effusions masked in academically correct technique. Stylistically, she's all over the place. The piece deals with the philosophy of life, of a world filled with doom and gloom. But Fleming sounds as if she's more concerned with the freshness of her morning grapefruit, and how she's not being treated like a Julia Roberts or Michelle Obama by the powers-that-be of the institution for which she happens to be performing at the moment. All through the cycle, there's no remorse at past wrongdoings, no regrets at lost opportunities and no bitterness at relationships gone sour. A genuine human soul, with heart to spare, would and should imbue this piece with all those attributes and more. But not Fleming.
Partisan to the point of blindness, Flemingphiles overlook the one essential problem with her pathetically all purpose approach to everything she does, be it on the gramophone, the recital platform or the lyric stage, which is that one-fifths of the emotions she seeks to express are dishonest, feigned effusions masked in academically correct technique. Stylistically, she's all over the place. The piece deals with the philosophy of life, of a world filled with doom and gloom. But Fleming sounds as if she's more concerned with the freshness of her morning grapefruit, and how she's not being treated like a Julia Roberts or Melania Trump by the powers-that-be of the institution for which she happens to be performing at the moment. All through the cycle, there's no remorse at past wrongdoings, no regrets at lost opportunities and no bitterness at relationships gone sour. A genuine human soul, with heart to spare, would and should imbue this piece with all those attributes and more. But not Fleming.
@@mannail888 Thank you for seeing the difference between a real artist and this shallow singer going through her "opera paces.' Never found her to be interesting. Lacks depth and beauty.
you have to be the most ignorant person alive today. You might have a favorite singer performing this piece, that's fine, but to utter the stupidity that Rene Fleming sounds horrible is really showing ignorance.
@@rattywoof5259 Of course you would. It’s not about preference, it’s about who is the best. Only one who cannot get past Ms. Norman’s race would make the statement of “preference”.
@@nwinthehouse9337 'Who is best' can only ever be a subjective judgement, i.e. a preference. And someone who is so quick to bring up a matter of race obviously has their own problems.
Perhaps the most beautiful live performance I’ve ever seen of this song. Truly miraculous.
Wow that's the definition of pure musical perfection! Thank you Renee Fleming and 2001 Proms :))
Might be the most beautiful thing I've ever heard...
Beautiful indeed
alice dennis yes Ms.Dennis!
Glorious! Glorious! Glorious! performance all round, Renee Flemings top notes are to die for, what a beautiful quality of tone throughout!
Renee Fleming is absolutely wonderful in this song of heart-aching beauty, taking the piece at a tempo where she can express it at its most exquisite perspective.
Bar none, Schwarzkopf, TiKanawa, Norman - I’ve heard so many and love so many for different reasons, but technically, interpretive and sheer beauty of voice and her command of Strauss, Fleming has it over all others for me! I only wish she had a recording of Salome (I don’t think she ever sang it), our loss!
To those who are criticizing - to those who clicked 'not like' - to those phillistines who think inane condescension, whining, and false sophistication are appropriate responses to this song and these artists - I have a question. do you honestly think that I'm impressed?
Madame Fleming's voice was made to sing this exquisite music of unearthly beauty
I totally agree, with that rich tone of hers😘
Her breath control is just phenomenal. Such an amazing singer and person. BRAVA!
Das hat beinahe meine Seele zerbrochen. Bin jetzt 70. Da gibt es noch eine andere Art von Schlafengehen. : ( Aua.
Kann ich nur bestätigen. Ich liebe - im Alter wieder - Hermann Hesse und besonders diese Vertonug von Richard Strauss. Allerdings möchte ich dies eher als "Beim Geldverdienen" betiteln...Leider..."Musikindustrie" eben
For those who apreciate the beautiful violin-solo, the name of the leader is Cristopher Warren-Green.
Thanks ! I was wondering- it's such a beautiful solo.
The song of my life. And what a superb rendition 😍
Exquisite. Just beautiful ❤️
I first heard this in the movie "The Year of Living Dangerously" and was enchanted. I've heard numerous renditions of it since, but this performance is unsurpassable, brilliant in every respect.
Me too! I find it interesting that in the final credits at the end that they misreported that the song was "September," one of the other "Four Last Songs."
@@toddburton6570 At least they tried. Check out the Eddie Murphy comedy "Tradinig Places" where the opening credits play Mozart's overture to The Marriage of Figaro, crediting "incidental music" to Elmer Bernstein
I just spent 6+ minutes in heaven.
Surely she's one of the very few all-time greats!
In all the glory that this recording and interpretation is, I must give kudos to the Concertmaster. I don't think I have heard that violin solo quite as exquisite. Most plow through it like they are late for church...
Same kudos. I love the violin as an instrument. I love to study their different voices... I was just sitting here crying at the beauty of this violin when I realized
this man must be in love with "her" too. You always hear about the singer and conductor being perfectly paired but this man and his instrument were magic.
I'm glad he found "her".
I saw this on NYC public TV and was so moved at the time. Thanks for posting this lovely performance.
this woman is my goddess. her voice is pure gold.
SOOOOO BEAUTIFUL AND HAUNTING !!!
I want this sung at my funeral. #timetosleep
Eve since I heard this 8 years ago, I've said the same thing.
me too I want this at my funeral it is exquisite !!! I heard it first, in the movie a year living dangerously with Mel Gibson and Sigourney weaver
So beautiful and restful
This song is so beautifull,makes you cry..
Very nice. Especially that violin solo. Never heard it that delicate. It's almost like it's whispering it's own story. Renee Flemming has a wonderful instrument and isn't scared to make some unusual coloration's. Still at moments it sounds a bit too much like she's singing an opera instead of a song. Darkening her sound as if she's not going to wake up again after this nights sleep. It sounds terrific but a bit misinterpreted. Then again I don't know which interpretation she was giving....
This is just devastatingly beautiful. She's carrying on Schwartzkopf's tradition, but is still uniquely her own person. I really don't know if this is better than Schwartzkopf's recording with Szell and Berlin (her last one) but it's getter close to as good. You can't say enough about this--you just flat run out of superlatives. It excites me so much to hear someone carrying on the great German lieder singing tradition. Now all that Schwartzkopf and Fischer Dieskau have given us won't be lost.
Absolutamente magistral! Total controle da respiração, alcance vocal absurdo e emoção jorrando por todos os lados! O paraíso deve ser assim!
Fantastic Strauss i la Fleming l´interpreta a la perfecció.
this is so beautiful
Richard Strauss was a genious!!!!!!
Thank you very much for sharing !
the near-impossible task of singing these songs in a 5500 seat hall.
Saw her sing this this evening at Snape Maltings in Suffolk, England, beautiful indeed
My goodness.. me too ! I am a huge fan and couldn't believe we got tickets to hear her. So wonderful in that smaller, intimate venue. Her voice was fading by then but it was still so perfectly poised and had so much to give... happy memory. Love Snape Maltings. In interval, we stood outside and a gaggle of geese flew noisily overhead in the dimming light almost as if in appreciative agreement!
Beautiful Renée.
Questi americani sono incredibili, partono x ultimi ed arrivano x primi.Eppure la Lirica non era il loro forte,ma la Fleming ha smentito tutti! Meravigliosa, con Stauss e' la number 1.
Renée Fleming e straordinaria...
it is slow and all the more beautiful, and difficult too.
Extraordinaire Renée !!! Il n'y pas de mot pour décrire ce que tu as donné ce soir là. Quelle grande artiste.
FANTASTIC DIVAS !
Lovely...
Sie ist die Beste.
...almost identical to Norman's tempo and Eschenbach really has the measure of the piece, on par with his magnificent Bruckner interpretations...Fleming has never sounded better...)
Magnifique ..!
I love you Renee
Divine.
Superb rendition. Effortless technique. Moving.
So many comparisons of the sopranos who sing Strauss. It seems the fact that some of the renditions are performed in live concerts, where as others are made in a studio allowing more "perfection" if that makes sense?
grande, emozionante!
👏👏👏🌹🌹🌹😘
I always want to sing along with this and I can't carry a tune in a bucket.
Stunningly Gorgeous, Stunningly Gorgeous.
È ammirevole questo video mi piace tanto sono estasiata lì ha diretto è un fenomeno
ogni volto ke lo ascolto penso ad persona a me caro
Just wonderful. Im a te kanwa fan and luv the individual differences to both of their interpretations!
Renees vocal ability is like she hoding back this wave of sound!
Luv both 4 this peice 4 different reasons
Belle et magnifique
Fleming and Schwazkopf- Strauss's eternal muses.
Hermoso
👍👍👍👍👍
Nun der Tag mich müd gemacht,
soll mein sehnliches Verlangen
freundlich die gestirnte Nacht
wie ein müdes Kind empfangen.
Hände, laßt von allem Tun,
Stirn, vergiß du alles Denken,
alle meine Sinne nun
wollen sich in Schlummer senken.
Und die Seele unbewacht
will in freien Flügen schweben,
um im Zauberkreis der Nacht
tief und tausendfach zu leben.
Bravo!! Or as Schumann said, "hat's off ladies and gentlemen!"
Christoph Eschenbach and the Philharmonia: never better!
Nun hat der Tag mich müd gemacht,
Soll mein sehnliches Verlangen
Freundlich die gestirnte Nacht
Wie ein müdes Kind empfangen.
Hände, laßt von allem Tun
Stirn, vergiß du alles Denken,
Alle meine Sinne nun
Wollen sich in Schlummer senken.
Und die Seele unbewacht
Will in freien Flügen schweben,
Um im Zauberkreis der Nacht
Tief und tausendfach zu leben.
Brava.
... nicht von dieser Welt!
Je voudrais qu'on joue ce titre pendant mon enterrement.....
To criticise Renee Fleming is of course stupid, she is a wonderful singer, no doubt about that. To say that she is the best in the 4 Last Songs is equally foolish, there are other current sopranos as good, if not better in this music, Solie Isokoski being my favourite and Christine Brewer gave a marvellous performance at this venue a couple of years back.
goosebumps down under, the equal of Schwarzkopf and maybe better
Où en est votre problème?
not all singers have money notes. money note in most cases being a glorious, high, long held note. or some sort of glorious vocal climax. by far not all had them. even some legendary singers didn't, the most famous among those being callas. (i am sorry, but she didn't.)
sutherland had them. pavarotti. netrebko, sorry, had them as well. quite a few singers had them.
and fleming was one of them. there is one specific recording of her singing the rusalka aria, and the high b she sings there is just out of this world.
@patfealy . .wise words, matey
what is extraordinary is that Strauss created such moving music from some rather banal poetry.The Hesse poems are really unexceptional ( if you want something brilliant about autumn then read Rilke Herbsttag) with little originality. There seems to be a big debate about the best interpretation with most preferring Jessye Norman-me too, but I cant help feeling that Richard Strauss might have liked this version- the German "schwelgen" comes to mind-a sort of wallowing in emotion and the beauty of the voice.
die grossen Dichter des 20 jahrhundert in deutscher Sprache -Rilke Trakl Brecht-leider gehort Hesse nicht zu ihnen, obgleich er ohne zweifel ein grosser "Romanist" ist. Ich weiss nicht ,wie gut Ihre kenntnisse der deutschen Sprache sind , aber vergleichen sie folgende zwei Gedichte (ubrigens , manche Dichter sind erfolgreich vertont worden, auch wenn die Gedichte selbst nichts Besonderes waren zB Wilhem Muller)
Mittag
im September
Es hält der blaue Tag
Für eine Stunde auf der Höhe Rast.
Sein Licht hält jedes Ding umfaßt,
Wie man's in Träumen sehen mag:
Daß schattenlos die Welt,
In Blau und Gold gewiegt,
In lauter Duft und reifem Frieden liegt.
- Wenn auf dies Bild ein Schatten fällt! -
Kaum hast du es gedacht,
So ist die goldene Stunde
Aus ihrem leichten Traum erwacht,
Und bleicher wird, indes sie stiller lacht,
Und kühler wird die Sonne in der Runde.
Herbstag
Herr, es ist Zeit. Der Sommer war sehr groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren lass die Winde los.
Befiehl den letzten Früchten, voll zu sein;
gib ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin, und jage
die letzte Süße in den schweren Wein.
Wer jetzt kein Haus hat, baut sich keines
mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.
in my opinion one of these poems says something strange and original about the human condition , the other reads like a 20th century piece of Anacreontik-.
Vielleicht lassen sich die grossen Dichter/Gedichte nicht so erfolgreich vertonen, Ich fand diese kritik zu Rilke Vertonungen interessant .(Bemerkungen auch zu Hesse darin)
www.spotifyclassical.com/2012/02/rainer-maria-rilke-in-music.html
Cher Proust,
You have a point. Thats what i was implying below. The masters of the Lied form seem on the whole to avoid the best poetry, although the Schumann Heine settings are an exception ,as are the Schubert settings of the poems from Wilhelm meister (Mignon and harper songs).However you can understand why Mahler went straight to the "simple" Volkslieder of Des Knaben Wunderhorn.
Jesse.
Beautiful overall and notably regarding Fleming - zamjachátjeljnaja (splendid)!!! My only complaint here concerns the concertmaster - too soft relative to the accompaniment in his solo, also doesn't have all the inflections as precisely as I could wish. It may seem odd that I'm focussing on that violin-solo at the expense of so much else (love the opening low-string entries here!!!); however, it's the final touch that's needed to get this listener to cry - and in its absence costs a star...
Must agree completely. Listen to the gorgeous an tender violinist do this solo in Lucia Popp version.
@acanthe83
Je suppose que je suis d'accords pour la pluspart, mais tu dois croire que personne ne peuvent toucher Rene Fleming dans ces jour et âge. Elle est une du meilleur dehors en actuellement, n'est-ce pas?
je doit ecouter ca por le college en 5°
Maybe I was a little too harsh on the concertmaster - the balance today seems better; however, some of the inflections (especially the 16ths in the phrase prior to the triplets) don't quite suit my taste.
Otherwise, Fleming is vocally AND physically angelic!!! I hope her character matches (one doesn't want a shrew or demoness to be present that way either!). Also, Eschenbach is a warmer conductor compared to Abbado. Yes, overall this reading beats the Luzern (Abbado) one (Fleming remains =)
@GracenotesGalore plus légère: c est évidemment très bien, le morceau étant tellement difificile mais je trouve que Mme Flemming manque de soutien dans la vocalise; qu elle fait des portamenti nuisibles à la beauté de la mélodie lorsqu elle monte dans l aigu et que ses descentes manquent de legato bref que sa ligne vocale n est pas toujours assez souple; il me semble aussi qu elle accélère parfois légèrement: enfin; ses graves ne sont pas tres beaux et à moitié poitrinés
She's good but she's not on my top list.
N
Jessye Norman.
Oui, je préfère même si cette interprétation reste de qualité.
This didnt "schwebe" - fell right asleep at the beginning - self indulgent ponderous tempo - boring despite Fleming's glorious voice. Probably the fault of the conductor (is it Eschenbach?)
ouch, ha :)
Thus is far superior to the singer's performance which aired on PBS a number of years ago. The voice was of course bseatiful the Fleming was barely engaged and the camera was focused on her face which never reflected the text . She could have been doing a tooth paste ad for all the involvement--or lack of. Later she performed the set in Italy with the Santa Cecilea conducted by Pappano. What ever happened during that interim was extraordinary. At last the beautiful voice was joined with the text. No, she will never be a kunst diva but all in all she has had a remarkable career and kept her voice in tact--indeed she hardly sounds as if she is (ungallant of me) the 55 she is said to be. Alas the Italian clips were removed from You Tube.
The violin-solo is better than the singer.
Utter rubbish-both superb. Renee’s intonation in the opening section is wonderful. Sure, there are other fabulous performances too
Partisan to the point of blindness, Flemingphiles overlook the one essential problem with her pathetically all purpose approach to everything she does, be it on the gramophone, the recital platform or the lyric stage, which is that one-fifths of the emotions she seeks to express are dishonest, feigned effusions masked in academically correct technique. Stylistically, she's all over the place. The piece deals with the philosophy of life, of a world filled with doom and gloom. But Fleming sounds as if she's more concerned with the freshness of her morning grapefruit, and how she's not being treated like a Julia Roberts or Michelle Obama by the powers-that-be of the institution for which she happens to be performing at the moment. All through the cycle, there's no remorse at past wrongdoings, no regrets at lost opportunities and no bitterness at relationships gone sour. A genuine human soul, with heart to spare, would and should imbue this piece with all those attributes and more. But not Fleming.
Everything you say about this performance is exactly what I feel about your critique.
Partisan to the point of blindness, Flemingphiles overlook the one
essential problem with her pathetically all purpose approach to
everything she does, be it on the gramophone, the recital platform or
the lyric stage, which is that one-fifths of the emotions she seeks to
express are dishonest, feigned effusions masked in academically correct
technique. Stylistically, she's all over the place. The piece deals with
the philosophy of life, of a world filled with doom and gloom. But
Fleming sounds as if she's more concerned with the freshness of her
morning grapefruit, and how she's not being treated like a Julia Roberts
or Melania Trump by the powers-that-be of the institution for which
she happens to be performing at the moment. All through the cycle,
there's no remorse at past wrongdoings, no regrets at lost opportunities
and no bitterness at relationships gone sour. A genuine human soul,
with heart to spare, would and should imbue this piece with all those
attributes and more. But not Fleming.
@@mannail888 Thank you for seeing the difference between a real artist and this shallow singer going through her "opera paces.' Never found her to be interesting. Lacks depth and beauty.
te kanawa and norman are so much better than fleming !!!! often she sounds horrible.
you have to be the most ignorant person alive today. You might have a favorite singer performing this piece, that's fine,
but to utter the stupidity that Rene Fleming sounds horrible is really showing ignorance.
After Jessye Norman’s interpretation of Strauss, listening to any other singer it would appear they are just mediocre
Prefer Lucia Popp myself.
@@rattywoof5259 Of course you would. It’s not about preference, it’s about who is the best. Only one who cannot get past Ms. Norman’s race would make the statement of “preference”.
@@nwinthehouse9337 'Who is best' can only ever be a subjective judgement, i.e. a preference. And someone who is so quick to bring up a matter of race obviously has their own problems.
That's unfair to say unless you can do better!
My preference is for Gundula Janowitz, then Jessye Norman, then Fleming.
heartfelt..heartbreaking