Track Listing

1. Poveri fiori, gemme de'prati
2. Dobra! Ja mu je dam!...Jak je mi?
3. Pochudilis mne budto golosa...Za dvorom luzhok zelenvoshek
4. Vissi d'arte, vissi d'amore
5. Ich ging zu ihm
6. Le ciel rayonne...O légère hirondelle
7. Orchesterzwischenspiel
8. Wie umgibst du mich mit Frieden
9. Tsveti moi!
10. Che più t'arresti? - Tacea la notte - Di tale amor
11. J'ai versé le poison dans cette coupe d'or
12. Mamicko, mam tezkou hlavu
13. Kdo to je? - Jenufko, ty jsi jeste vzuru?
14. Ich soll ihn niemals, niemals mehr sehn

Product Details

• Amazon Sales Rank: #70845 in Music
• Released on: 2006-10-17
• Number of discs: 1

Album Description
RARELY PERFORMED OPERA ARIAS AND FORGOTTEN GEMS CAREFULLY SELECTED BY TODAY’S LEADING SOPRANO. HOMAGE, THE AGE OF THE DIVA IS A TRIBUTE TO THE ARTISTS WHO GAVE LIFE TO THESE WORKS.

Acclaimed throughout the world’s great opera houses, American soprano Renée Fleming enjoys particular success in roles from the late 19th and early 20th centuries when glorious vocal writing and opulent orchestrations took the art of opera to new heights.

In studying and performing this passionately lyrical music Renée Fleming became increasingly fascinated with her predecessors - sopranos of a golden age who made this intensely emotional music their own.

In her latest recording project Renée Fleming pays tribute to remarkable singers including Lotte Lehmann, Maria Jeritza, Rosa Ponselle and Mary Garden; women who achieved iconic status in a rapidly changing world in which their fame was spread through recordings, film and advertising - a time which could be described as ‘The Age Of The Diva’.

The beautiful music links the 19th century of Verdi and Gounod with the 20th century of Korngold and Richard Strauss. All of the pieces were championed by the Divas of the past, some of them come from operas that are still very popular today (Tosca & Il Trovatore), many others are from operas that have been forgotten. Renée Fleming rediscovers these "lost jewels" - including arias by Cilea, Smetana, and Rimsky-Korsakov - that were big hits during their time and now presents them for a new generation.

For this passionate, richly orchestrated repertoire, the role of the orchestra is enormously important and Renée is joined by the acclaimed Orchestra of the Mariinsky Theatre under their music director Valery Gergiev.

About the Artist
American soprano Renée Fleming continues to thrill audiences with a voice described as the "gold standard of soprano sound," a meticulous and dazzling gift for characterization, and a rare stylistic versatility. Her superb artistry has inspired her instatement as a Chevalier de la Légion d'Honneur by the French government (2005), as well as the "Renée Fleming Iris" (2004) and master chef Daniel Boulud's dessert "La Diva Renée" (1999).

A two-time Grammy winner, Ms. Fleming has been an exclusive recording artist with Decca since 1995. Her newest CD, comprising rarely-heard works associated with great singers of the past, releases in Fall 2006. The most recent of her numerous recordings include the Grammy-nominated CD of Strauss' Daphne conducted by Semyon Bychkov (2005), "Sacred Songs" (2005), the jazz recording "Haunted Heart" (2005), "Renée Fleming: Handel" (2004), and the movie soundtrack to "The Lord of the Rings: The Return of the King" (2003). Her work has earned nine Grammy nominations as well as the Classical Brits Awards in 2004 for Outstanding Contribution to Music, and in 2003 for Female Artist of the Year. That same year, she received Honorary Membership in the Royal Academy of Music and an honorary doctorate from The Juilliard School (where she was also commencement speaker). Ms. Fleming's most recent film appearances are in Phil Grabsky's 2006 documentary, "In Search of Mozart," celebrating the 250th anniversary of the composer's birth, and in the 2006-07 release of the major motion picture, "Margaret."

An advocate for literacy and an avid reader, Renée Fleming has been featured in promotional campaigns for the Association of American Publishers (Get Caught Reading), and the Magazine Publishers of America's READ poster campaign for the American Library Association. She was honored by The New York Public Library as a "Library Lion." Her book, "The Inner Voice," was published by Viking Penguin in 2004, and released in paperback by Penguin the following year. An intimate account of her career and creative process, the book is also published in France by Fayard Editions, in the United Kingdom by Virgin Books, by Henschel Verlag in Germany, and Shunjusha in Japan.

Among her earlier awards are the Commandeur de l'Ordre des Arts et des Lettres from the French government (2002); the 2000 Gift of Music Award from the Orchestra of St. Luke's, honoring individuals who have made a significant contribution to the world of classical music; and the first Solti Prize of l'Académie du Disque Lyrique for her outstanding recording artistry (1996). A passionate champion of creativity in the arts, Ms. Fleming is both a proponent of new music - having had many works written for her - and an advocate for the revival of overlooked masterpieces. She is also a member of the Board of Trustees of the Carnegie Hall Corporation and of the Advisory Board of the White Nights Foundation of America.

In addition to her work on the stage and in recordings, Renée Fleming has represented Rolex timepieces in print advertising since 2001, and has served as the inspiration for the main character in novelist Ann Patchett's best-selling book, Bel Canto (2002). In 2005, her prominence led to honors from the Lotos Club, Distinguished Daughters of Pennsylvania, and in the cover story of Smithsonian Magazine's special anniversary issue, spotlighting "35 Who Made a Difference." In 2001, she was added Mr. Blackwell's best dressed list, and People magazine named her one of its "25 Most Intriguing People of 2000." Couturier Gianfranco Ferré has designed Ms. Fleming's stage gowns since 1998, and Issey Miyake, Vivienne Westwood, Bill Blass and Oscar de la Renta have created gowns for her as well.

Renée Fleming studied at The Juilliard School and holds degrees from the State University of New York at Potsdam and the Eastman School of Music. In early years, she was a recipient of a Fulbright Scholarship to Germany. A winner of the Metropolitan Opera National Auditions, she was also the recipient of a Richard Tucker Award, George London Prize, and the Grand Prix at the International Singing Competition in Belgium.

Customer Reviews

The welcome luxury of rare music and a great voice
Two facts about this CD are undeniable: most of the arias will be unknown even to experienced opera fans, and Fleming's voice is in fantastic shape. I can't vouch for her pronunciation of Russian and Czech, but except for Mattila, no soprano before the public has sung these Rimsky, Tchaikovsky, Smetana, and Janacek arias with auch plush, secure, and ear-ravishing tone. In fact, the two conventional numbers from Tosca and Adriana Lecouvreur are the weakest here--they sound mannered compared to greats like Callas and Leontyne Price, nor does Fleming have a voice with the heft to handle Tosca in the opera house. The impassioned excerpt form Jenufa is especially welcome since Fleming repesents a major voice in the role; she is veyr affecting.

It's true that Fleming still indulges in pushing her emotions to stagey lengths--more diva than real-life woman--and she throws in sobs and catches that we could well do without. Even so, this is her first CD since a similar recital with Solti in 1997 where we get the luxutry of world-class conducting. Gergiev is splendid, particularly in the Slavic selections. The recorded sound is fine. All in all, this is a great treat for Fleming's countless fans and a reminder of how rare a true opera superstar has become.

Fleming's Elaborate Voice a Compatible Match for Turn-of-the-Last Century Prima Donna Favorites
Reigning soprano Renée Fleming's beautifully fulsome voice is put on dramatically effective display in a surprisingly accommodating program that highlights the selections sung by prima donnas at the turn of the last century. Unlike her forays into Handel or even her pop-jazz repertoire, she does not try to harness her sometimes florid mannerisms into a range compatible with her material. If anything, this disc really showcases her technical assuredness in what could have been an elaborate exercise in self-indulgence. With her range amazingly clean and her legato just about perfect, she dives headlong into these relative obscurities that have been chosen to evoke renowned singers from that period.

Among the most thrilling tracks here is Richard Strauss' "Orchesterzwischenspiel" segueing into Fleming's Danae on "Wie umgibst du mich mit Frieden" from "Die Liebe der Danae". She superbly evokes German soprano Lotte Lehmann on "Ich ging zu ihm" from Erich Wolfgang Korngold's "Das Wunder der Heliane" and Lehmann's Moravian rival Maria Jeritza on the hyper-dramatic fireworks of "Mamicko, mam tezkou hlavu...Kdo to je?" from Leos Janacek's "Jenufa". She covers more familiar territory with "Vissi d'arte" from Puccini's "Tosca" and "Tacea la notte...Di tale amor" from Verdi's "Il trovatore", both benefiting from her accomplished phrasing.

There are moments when I feel she gets a bit coy, for example, her overly ornate approach to the waltz, "Le ciel rayonne, l'oiseau chante...O légère hirondell," from Gounod's "Mireille". However, she rebounds admirably on my two favorite tracks, the moving "J'ai versé le poison dans cette coupe d'or" from Massenet's "Cléopâtre" (a tribute to Scottish soprano Mary Garden) and the tragic "Pochudilis mne budto golosa" from Tchaikovsky's early opera success, "Oprichnik". Overall, with fittingly stentorian accompaniment from the Orchestra of the Mariinsky Theatre of St. Petersburg led by Valery Gergiev, the disc proves Fleming to be at the height of her interpretative powers even if the hodgepodge nature of the material here is jarring at times.

Rare Gems
American soprano Renee Fleming and Decca hit this one out of the park. This is a wonderful CD that deserves a place in the collection of every opera lover and Renee Fleming fan.

The concept of this CD makes it special, and Renee's singing makes it a must-have. Renee Fleming clearly respects the art and those who have gone before her. She pays loving tribute to great sopranos of the past by singing their signature arias. Other than "Vissi d'arte", "Poveri fiori", and the scene from "Jenufa", the CD has content that is probably unfamiliar to even long time opera fans. The chance to hear these rare arias performed by Fleming is reason enough to own this CD

While many of these arias may be unfamiliar, they will strike you as similar to seeing an old friend. You can plainly discern the composer, particularly in the cases of Strauss, Korngold, and Gounod. The final aria on the CD, "Ich sol ihn niemals, niemals mehr sehn" quotes a motif from Korngold's aria "Marietta's Lied".

I must respectfully disagree with some of the criticisms of Renee's interpretations and choices. I think the "Vissi d'arte" was very well done. The way of Callas isn't the only way. As another critic noted regarding this aria, the extremely long sustained note in the penultimate phrase was awesome. Showy? Perhaps. Nonetheless, what a bold artistic choice and incredible display of breath control.

I also respectfully disagree with those who quibble with the selections; her voice is too light for "Tosca", too heavy for Gounod, etc. Let's remember that in the so-called "golden age", and even into our time, sopranos sang a much broader rep. Pigeonholing is a more recent practice. You saw lyric sopranos singing roles that are now sung by coloraturas. Heck, they even sang mezzo roles such as Rosina and Carmen! I'll give you the assertion that "Tosca" on stage would not be a good choice for Renee in this day and age. But "Mireille"? Why not? Yes, Gounod's Juliette role is normally sung by a coloratura, but his Marguerite is normally sung by a lyric. Take your pick.

The program order also really works here. My favorite sequence is "Ich ging zu ihm" followed by "La ciel rayonne, l'oiseau chante", followed by the Strauss. Later, the Massenet coming in the wake of the Verdi provided wonderful contrast.

If you could only buy one compilation disk by a soprano this year, you should buy this one. Highly recommended.