Renée Fleming - Verdi - La Traviata - "Sempre Libera" & Interview

[operabuffey]

She is a lovely person. She is so honest about the aria. I am surprised at what she said about the Met "not allowing the high note" in Sempre Libera.

[primohomme]

@HeidelbergSoprano

That's true, the highest Verdi wrote for his sopranos was usually high D-flat, and usually never sustained but as part of a fiorature line, the only high D-flat sustained I can remember by Verdi is the pianissimo one for Lady Macbeth. Also, he did write a high E-flat in "Giovanna d'Arco", part of a coloratura line.

Musically it would be more correct in Verdi style to sing a high F instead of high E-flat according to some conductors.

[asdfopera]

@primohomme

You mean Verdi didn't write that Eb6 at the end of the act 3 duet in Nabucco? What was Callas thinking? ;)

[primohomme]

@asdfopera

He also didn't write the high E or the low F Callas sang in "I Vespri Siciliani" :P

[babydrane]

Great effort. The problem might not be so much the tessitura as her not being trained to sing fioritura. This is not a coloratura role. People might hate singing the first act only because they don't know how. It's just weird that she blames Verdi when she decided to sing his music knowing she was incapable of doing it justice.

[KathrynARyder]

What she means is that she no longer has the high Eflat to sing it. Renee is fibbing about the MET not permitting the high Eflat anymore. I just heard Guleghina twice in NABUCCO interpolate a high Eflat both nights in her big duet.

[asdfopera]

@KathrynARyder

maybe they just won't allow renee to do it, because it is true that guleghina is singing them.

[kgarmaker123]

@KathrynARyder She really never had a good e flat at the end of this cabaletta... It is simply a very high and taxing tessitura, and Fleming is not a coloratura... She likes to slide into notes, and as a matter of fact slides into the E flat when she sings it.. and it does not sound good either. But I agree.with you.

[Judill]

@KathrynARyder I dont think she meant that Eflats were no longer allowed at the Met. I think she just meant that the Met was being considerate of its Violettas in their productions of La Traviata. Sempre Libera is insanely difficult when placed in this particular role; perhaps they were just trying to ease the burden on the performers.

[asdfopera]

@Judill

well, the last couple of violettas at the met (angela gheorghiu and marina poplavskaya) have not sung the e flat. poplavskaya actually couldn't articulate much of the coloratura at all. let's see what dessay does in a few months. dessay is a coloratura soprano so she kind of "obligated" to do it. :)

[operabuffey]

@asdfopera What's the big deal how high the notes are? I listen to the overall beauty of the voice and the quality of the singer. Too many fans are stuck on high notes. In its early days, the music was a half tone lower for all. Its the juxtaposition of the intervals and the key which brings out the beauty of the song.

[mbsbrfalw15]

I love the way she says 'no one does that anymore' in regards to the Eb- you just did it haha :)

[OperaLover84]

Is there more of this interview available? Where is it from?

[asdfopera]

@OperaLover84

It's from an interview Renee did the last time she sang with the Lyric Opera of Chicago. They played parts of it during the intermission of a Traviata radio broadcast in the 2008-2009 season. This is from a personal recording so it's not readily available.

[LohengrinT]

-ah the Eb6-crowned "Sempre libera" at Houston

-"No soprano enjoys singning this aria" Indeed I used to believe for years that Verdi became "violent" with his soprano in Sempre libera - the Met wont allow the Eb6 at the end anymore? hmmm interesting

-"Higher voices find the rest of the Opera difficult" - at least someone speaks it out :)))

[asdfopera]

@LohengrinT

I actually got the idea to make this video yesterday after watching Fleming interview Dessay during that HD intermission for Lucia. They talked about Dessay's upcoming Violetta at the Met. Form what i have heard of Dessay's Violetta, and even her recent Lucia, she probably won't fare too well in the second and third acts because they sit so low. Then i thought of how for me Fleming is one of the last few complete Violetta's who can sing the rest of the opera incredibly well.

[LohengrinT]

@asdfopera

she also sings Sempre libera very well If Fleming could sing Sempre libera perfectly then her Violeta would rival Callas' with no doubt.

Dessay these days cant sing anything either the coloratura or the rest of the role (I hope she doesnt get naked on Violeta as well lol)

[asdfopera]

@LohengrinT

they won't let her do that at the met. i saw her in lucia yesterday and she still has a singing voice left and can still reach the e flat and everything, but in the lower passages (which surprising lucia is full of) she ran into a bit of trouble. in terms of acting she actually held back some and was more subtle in an effective way that wasn't over the top.

[LohengrinT]

@asdfopera

Suprisingly? dont you know why Lucia was led into Oblivion as a role? It was called as too centrale by Callas - Lucia is full of low passages and most coloratura soprani just transpose them upwards. Lucia isnt the 5 minutes of coloratura halabaluba in the Mad Scene, Lucia is a unique Bel Canto masterpiece full of Ingenius melodies.

[kgarmaker123]

@LohengrinT Renee is saying what many voice teachers have said for years.. The tessitura Of Sempre Libera is a killer.. if done right.. and without all those pregnant pauses that dear Renee inserts, all to allow her vocal cords to recover a bit. I love Renee in the right role. this is not it, and I would disagree that she is great in the second and third acts( perhaps vocally she is). But she does not see to me to be vulnerable enough, nor brave enough to leave her bf for his family's sake.

[LohengrinT]

@kgarmaker123

-Indeed the pauses have healing effects - but create me stress (will she start singing again?)

-Her Dite alla giovine is sublime ;) Indeed vocally she is superior

[kgarmaker123]

@LohengrinT To me, Renee projects an aura of being totally in control always, ( as she must to be as successful as she is)... but she lacks the vulnerability that Violetta, must have from the first act on... I love her Manon, her Thais, just adore them.. but they are totally different characters.. Violetta has belonged to Callas and will continue to be "her " role.. as she is the only soprano with the correct blend of musical and theatrical talents to make her come to life ..

[LohengrinT]

@kgarmaker123

-the control on her vocal line is phenomenal - many times there is lack of spontaneity plus the well known "sobs" sound artificial yes. But the Vocal Line... it is the wonder of Sound - I think she should be hailed the Ultimate Goddess of Vocal Line - there are live recordings where she is flawless!

-Violeta needs too much "bending" of the voice - or as Callas said, u must cut the voice into 1000 pieces then give it to the public. No one is willing to do such sacrifice nowadays

[ALYSSA09MUSICSTARS]

Wonderful! Renee Fleming is a great, fascinate singer, one of the best of all!

Thank you for this take. Its a pleasure to listen it.