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From: Onegin65
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  • A romantic version, yes - so what; I just love Fleming's performance here!

  • Renee absolutely gives me goose bumps.

  • jd7x7jd I know what you mean! I listened to the youtube of Bartoli singing the Alleluia, and it's fantastic and unquestionably more idiomatic--she sounds like the castrato it was written for--and yet this one is sooo beautiful. Who would want to live in a world where you couldn't have both?

  • The last 50 seconds of this are just.... wow. fantastic.

  • Excellent intepretation and marvelous voice. Tears come to my eyes when listening to especially her cadenza.

    Anthony Lau (Vancouver, Canada)

  • It's interesting that the two most highly regarded singers in the world at the moment are Renee Fleming and Cecilia Bartoli. And no-one else comes in for the flak from armchair critics that these two endure. So what if Renee Fleming does a Romantic interpretation of Mozart? How do you know what Mozart wanted? One thing is certain - he would have been blown away by the beauty of her voice.

  • @jd7x7jd Amen, amen, thank you. A Romantic interpretation is fine. There are other ways to sing this but Renee Fleming has an immens gift and hearing her blesses us.

  • @jd7x7jd Amen, and thank you. A Romantic interpretation has a place. Ms. Fleming has a great gift and her sharing that with us blesses us.

  • Personally, I think her technique is flawless and the coloratura is just fine -- no Bartoli, but she does just fine. Morever, the pitches have a certain brillance and shape that is truly unparralled.

  • I absolutely love Renee...I've even (thank God) had the privilege of having a little chat with her after a concert...but even though I'm one of her biggest fans even I can admit this is not nearly her best! She's chewing all of the melismas and turning this into a romantic piece - sounding more like lieder. I do, however, adore her ornaments. She's always been amazing at changing music...but sometimes it needs to remain as it is.

  • Her trills seem to be very controlled, and not as natural as other voices that do this song. For once, I think I can spot someone in opera singing outside of their recommended operatic repetoire.

    And I have heard recordings where the singer is able to sing "lu-ia" after the high C and not muffle the "ia" sound together into a single distorted vowel sound.

  • Renee! Stop singing coloratura pieces!

  • I was at this performance and, yes, we thought the cadenzas were eccentric, but what the hell, we were blown away by the beauty of her voice. The audience went crazy over her, and they were right. :-)

  • you are so right asksOne Thing!!!! 

  • She REALLY likes the sound of her own voice, doesn't she? I mean, lady can sing but the affected mannerisms are just TOO much.

  • Scales completely out of tune in the Alleluja

  • Poor frustrated people- you can have your opinion about her singing, nobody takes that away from you. But to say such evil things about a WONDERFUL singer like Fleming is pathetic. I think she does a great job here, even though I like Battle's Tu virginum corona more (question of taste!). You can criticise her and her technique as much as you want- she's the famous and the rich one, so live with it.

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  • @diradour Thanks, but I'm actually more a day person than a week one ;) I don't see how my comment leads to the conclusion that I'm a weak person- by defending a great singer, who has, like any other human, her bad days. There is a difference between criticising her for this specific performance and criticising her in general because of this performance. But I'm not going to argue with you, because you're, apparently, not worth it- think what you want.

  • @magnificat2009 What a week person you are!

  • I love how angry she looks for most of the runs...

  • ...dulcia cantica canendo ... ?

    It seems to have been one of her mediocre days.

  • Diese Frau ... was ist los mit ihr??? In Ihre stelle würde ich mit das Geld von diesem Konzert ein Metronom kaufen und Gesang unterricht bekommen. Damit sie wenigsten mit Koloratur besser umgehen kann...

  • what an amazing, amazing, amazing performance of this piece. Fleming is pure soprano gold. brava, renee

  • il paraît qu'elle est très gentille ...

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  • What a dove

  • I love the part at 6:15 where the oboe echos the voice

  • The purists quibble; the rest of us just listen in awe. :)

  • I watched Bartoli's performance of this piece just before this one. There's definitely a stylistic difference. I don't think Fleming should be hammered for it; it's just her style, I suppose. Besides, Mozart's gone now; it's too late for him to complain about her performance! I liked it for what it is. Rock on, Renee!

  • A little too Romantic for Mozart, and sloppy coloratura. It's a motet, not Gilda's "Caro nome"!

  • I like the frock!

  • This really makes me angry. She should stop believing the hype, and do something about her singing. The coloratura is disatrous, the voice muddy, and it is as though she turns up and does her ¨Renee¨performance, (which is becoming more and more mannered) without any regard for poor Mozart

  • True - but a little harsh.

    The cadenza is pure romantic, in the end a graceful look that she kept the key - the coloratura - well I try to imagine how Lucia Popp would have sung it. Bad intonation and uneducated habits. In general she should do something with her technique, you´re right.

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  • With your attitude there would be no critics in newspapers etc anymore

  • Who needs newspapers when all the credible critics are sat at home sniping at YouTube videos?

  • I agree that this is a bit disappointing. Renee makes this too much about her, and too little about Mozart. She has one of the best techniques of living sopranos, so she has no excuse not to live up to the music. And I say this as someone who loves Renee's voice generally and appreciates her artistic intelligence. But, in this performance, ego has overtaken musical taste and propriety.

  • @ifmusicbe - Can't say I agree. Some people (myself included) are so moved by music that we feel the need to move to it, or dance to it. Her voice so beautifully caresses this music that I cannot doubt her devotion to it, and her movements and enhancement do nothing but affirm her love of it to me.

  • @chueca ma per favore..........

  • it's hellish to keep tempo with an organ in a big space... brava

  • wow... that is not Mozart...

  • Ok my last comment was a little unkind!

    I actually really like Renee's voice - she's the closest we've got to what used to be called a 'dramatic soprano' with big vocal resources.

    This piece may not suit her style and voice very well, but she makes a good effort of it + the high note near the end is thrilling.

    At least she *can* sing something like this. Sopranos in other genres couldn't even attempt a different genre e.g. can you imagine Emma Kirkby trying to sing Verdi or Wagner?!

  • From 5.26 to 5.34 she looks as if she's chewing an old shoe.

  • it's called colorachewra!

  • Haha! Class :-D

  • The coloratura passages just don't sound crisp.

  • interesting opinion oaf :).

  • i just dont like her

    i keep thinking i will, but it never happens

    and this is a mess

  • with you tenore23 - she is a great jazz singer!

  • To those who know EVERYTHING about musical techniques: You may be right in criticizing artists on whatever excess or lack you can think of, but don't you realize that you insult the good taste of less informed mortals? Who determines a performer's fame at the end of the day, is it audiences or select circles of critics? Whenever you slap artists' faces with your reviews, I feel sorry for your inability to enjoy, and let others enjoy, excellent performances like this one. Have a good 2009!

  • The problem is that this work isn't really written for a voice type like Fleming's. Fleming is more of a full lyric, not really a coloratura. However, she does the best she can with what she has, and personally, I think she sounds lovely.

  • I am sure she knows how it should be sung.

  • when did you last sing as prima donna at the proms? Gosh you people... all arm chair Singers. tsk tsk.

  • I have enormous respect for M. Fleming, but I agree that she takes too many liberties with this piece. I would rather she not employ the use of glottals as extensively as she does here. More important, this music is "sacred" music, even though it is done in concert. It doesn't have any sense of reverence.

  • I disagree with you! The Bartoli's vibrato is horrible..That is my point of you!

    But Fleming is so good! Don't compare her with Bartoli.

    Actually a good soprano coloratura is Dessay.

  • Totally agree re. Bartoli - her vibrato sounds like a food mixer, or someone drilling a hole in the road.

  • Eek...I love Renee and all, but the coloratura passages are WAY off. :(

  • Could any of you do it better?

  • EXACTLY...

    not one of the commenters here in yt is or would ever be good enough to be on the same stage with her... well, maybe as a custodian sweeping up.

    Those who cannot do, criticize. She is amazing.

  • Heard it again after a year. Still stand by what I said. That cadenza belongs to a jazz singing piece, not to a Mozart piece. The origin of the cadenza is not important, the singing is what matters and the singing is Jazz, not Mozart.

    Unmozartean, jazzy, clearly out out of style and out of class. in one word: Horrible.

  • Only one woman can sing this..."Janet Baker"

  • Good, but I've heard Fleming do Mozart that I liked better.

  • finalmente un exultate jubilate lirico.. bellissimo

  • I agree with you it is a anoying habit she has but live it is really amazing !

  • That cadenza at 4:00 or thereabouts has to be one of the most un-Mozartean and horrible pieces of singing ever done in front of a television camera. It is right up there with Scotto's Over the rainbow

  • it's a tremolo? whats un-mozartean about that? every heard the Countess aria from Le Nozze di Figaro?

  • To answer your question: All the sliding around the pitch that she does in the cadenza. That is Jazz, not Mozart.

    Yes, I have heard her sing the countess aria. She was a magnificent countess. I am not sure she could sing it right now. She is too inconsistent.

  • That cadenza is "Ruhe Sanft" from "Zaide" by Mozart.. How can you say that's jazz?

  • She has this ANNOYING habit of "recitavizing" every oratorio or sacred aria she sings. [sighing]"unde... sus...[whisssper]pi...[sigh]ra­t...[semi recitative]cor...[almost straight recitavive]". ARGH. I repeat, stick to Opera, babe.

  • That "sliding" that "ARRieth" refers to is part of the melody! A Classic Mozart characteristic. And she's better than Netrebko!!! Ugh, Mozart and Netrebko...*puke*

  • I don't think Fleming was well here if my memory serves me. I have heard her singing this 10 times better.

  • OH MY GOD Mozart has turned over in his grave.

  • Renee didn't invent scooping or portamento. Other singers have used it too. Namely Leontyne Price in the 70s. And, indeed, there is nothing wrong with the use of portamento in classical singing.

    And enough of this "Renee should stick to jazz". People act as if this is something she just discovered in the last few years. She started singing it in college, she made one semi-jazz cd, and everybody went nuts.

  • I guess what some of you call scooping or mannerisms are, in fact, the actual timbre of Fleming. Maybe you simply dislike her voice... I do recognize when she sings portamenti or mannerisms, but here she's MOSTLY singing in a very pure way. In order not to arguee every time, I think I'll have to assume that the more negative comments about her, the better she is in a video. ;-D

  • It IS scooping! Can't you hear it? Scooping/Portamento is NOT Mozart - or a technique applied to classical singing. Listen to a soprano from the 70s sing this and you'll hear the difference. Renee should stick to jazz. . . she can sing however she wants and recieve no flack about "disrespecting" a style that has rigid parameters. I don't hate Renee. I think she is a GREAT actress and artist. I just question her musicianship.

  • Well, I'll watch to it again, but I frankly think that I will keep liking this video. Sometimes we get to make a decision: we may forget someone's flaws in order to appreciate her qualities better or we can think all she has are flaws and lack of musicianship. Granted, she sings some portamenti and I can hear some signs of scooping, but you can't say she does that in every note. Mostly, her singing is dramatic, stylish and very pure. ;-)

  • Listen to how she begins on a lower note and slides up to the correct note. It's slight, but the frequency makes it irritating and shows that she doesn't understand the particulars of certain styles. It also says that she only sings "how" she wants to sing. Not a desirable characteristic of a singer. She gets away with it b/c she's "Renee Fleming" - if an unknown singer did that, they'd get booed off the stage.

  • Exactly...one hears Renee Fleming first, Mozart a distant second. Mozart is infinitely more gratifying.

  • That sounds a little arrogant, don't you think?

  • Her name has nothing to do with it. She is big because she can sing, and forever will be able to sing. I am not going to go pointing fingers, but it sounds as if there is a jealous thing going on. Just sit and enjoy the performance because she will give you one. She is a singer you don't have to worry about pitch or bad tonality. She is just Gifted!

  • Gifted to do some of the most unmusical things ever done in the business. This is not about Mozart, it is all about Rennnneeey! It is horrible.

  • Anyone have Kathleen Battle doing this ?

  • I don't mean to sound negative. . . but does she have to scoop her way into every note. At best, it sounds like a bad portamento and portamento is NOT a mozartian thing to do.

  • she has become so mannered and sloppy; pull yourself together!

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