Renée Fleming Orchestre de Paris conductor Christoph Eschenbach Théâtre du Châtelet 23 May 2002
On 23 May, Renée Fleming joined with her old friend, conductor Christoph Eschenbach, in an evening at the Théâtre du Châtelet. With the Orchestre de Paris, she sang works from Mozart to Strauss, repertory for which she is well known. Eschenbach, Musical Director of the Orchestre de Paris, was on the podium for some of her important early successes in Houston, Texas a decade ago and their mutual admiration was apparent from the start. Appearing in a stunning black Issey Miyake gown, she followed the orchestra's playing of the overture to Don Giovanni with another delicious work by Mozart, a soprano aria with rondo 'Ch'io mi scordi di te?' K. 505. Arranged by Mozart for orchestra and piano as a farewell present for Nancy Storace, the first Susanna, Eschenbach conducted this musical gem - seldom heard in the concert hall but one of Mozart's most inspired accomplishments - from the piano. Fleming sang with a clarity of the musical line and true Mozartian style. Before the intermission, Eschenbach took the podium to conduct the overture to La forza del destino of Verdi and Fleming then returned to sing the 'Willow Song' from the same composer's Otello. It was here that she made perhaps her most significant impression. With her creamy legato, sturdy voice support, and astonishing ability to float a lovely pianissimo phrase, it is easy to see why she is considered by many to be without peer on the opera stage today. The final ascending notes of the concluding 'Ave Maria' of this segment were sculpted with an almost unearthly beauty and grace. The final work on the program was the enchanting final scene from the opera Capriccio. Fleming, now in a gray Miyake, expressed the reflections of the countess who cannot decide between her two lovers, one a composer and the other a librettist. This scene, an overarching meditation on the relation between music and drama in opera, would be a test of any great soprano's interpretative talent. It could be that this dialogue touches on issues that the have yet to be fully explored in Miss Fleming's still-evolving career. Some critics have suggested that she relies too much on her free flowing golden tones and the perfectly controlled singing instrument with which she is blessed, instead of probing more deeply into the underlying drama. But if there were any doubts that evening, they were banished and forgotten with Miss Fleming's single encore, 'Depuis le jour' from Gustave Charpentier's Louise. As she took her final bows and left the flower-strewn stage, there were probably even a few jaded critics who would have, in a different age, vied with the younger fans for a chance to pull her carriage down the boulevards of Paris.
Прекрасная музыка! Превосходное исполнение! Хорошее качество звука! Спасибо!
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