Відео

Such a voice,,,,and stunningly beautiful.....

No one can sing like today.

Love this peace

Ugh miss Fleming is just amazing.

unglaubliche schönheit in der stimme, in der interpretation, tiefste empfindung….. musik, was für ein geschenk und was für ein trost in einer aus den fugen geratenen welt ….❤❤❤ grossartige reneé ❤️❤️❤️❤️ !!

S

Absolutely gorgeous! And Richard Leech has been a great favorite of mine since the beginning of his career!

Mi permetto di esprimere un pensiero, se qualcuno cerca la classe interpretativa con la versione che ne da' Renee Fleming e chi la dirige dovra'volgere lo sguardo altrove, ma se parliamo di teatro e di emozione credo ci sia ben poco da eccepire. La spericolata interpretazione di questo brano trova un climax , non so' se sia la parola piu' adatta, di incredibile efficacia, se avessi avuto la fortuna di assistere a questa performance non credo che sarei rimasto attonito ma avrei partecipato al dramma esistenziale della protagonista piangendo in silenzio.A me piace per quello che mi offre a livello di emozioni aldila' della licenze che si prende!

That e flat had its Time in the studio and in New York she slayed the finale to Armida so we know what she was capable of.. let a 21st century soprano DARE to sing these rolls and come close to the electricity Fleming creates on stage: ie diva of her time. And if you’ve never seen her sing Strauss live you’ve missed the legend. Y’all want to talk about squilo and think Netrebko or that screeching Radvonofsky can handle bel canto roles this challenging… do not count them screaming they’re way through the Donizetti queens 😂

Woa ! And she still went for the cadenza in “Era Desso” my goodness I love her voice bc she is truly a lost art form

Her colorature is like a human oboe ❤

How ridiculous is all that snobish criticism of Korngold - "More Corn than Gold" or "Film music". The truth is that Korngold's music is beautiful and often - very often - sublime. The operas Die Tote Stat, Der Wunder der Heliane, the Violin Concerto are great works. If he often sounds like film music it's because he invented film Music, he and Elmer Bernstein. And the film scores by both are classics. Marietta's Lied with Renee Fleming is transcendental. Thank you for posting.

😂Вечная, светлая память выдающейся певице и красавице планеты Земля, Ингеборг Хальштейн. ❤😊

Da hòtt man noch bis zum letzten Ayemzug doe Lugt sn

Meraviglia delle meraviglie il finale di Thais

Wonderful, great!

Indeed she is incredible. Her high notes were unsurpassable. She jumped an octave higher with ease. But I don't forget Margit Schramm. Her voice became very warm when she was singing high notes.

🌹 I have to cry every time when this “Rose” is coming.🙏

Marvellous genius. And in the theater, the voice was filling the stage and hall.

Rene Fleming the BEST Verdi Requiem soprano hands down!

Thais splendida la voce della Sig.ra Fleming e di una bellezza sconvolgente arriva al cuore

There is a vibrancy to her sound.

What an amazing woman❤ what a great loss to music

Celestial❤❤❤

The best!!!

Yikes!

Amazing aria & voice !!! ♥

Beautiful just beautiful Will listen again and again

Ms Fleming is indeed one of the greats. Phenomenal power! Brilliant clarity and awesome agility!! Remarkable performance!!

I am a great admirer of Fleming, but not as Imogene , and as to the cadenza, the added ‘E’ is a little tasteless, and sounds messy.

Le contre ré final incroyable ❤❤❤

Viva W.A.Mozart and Rene hallelujah Amandla

Her voice was tremendously clear and precise. She was a miracle.

The applause and bravos we hear after hearing this woman sing is the final comphrension of the hundreds of years of this superb expression of art. Her voice was one of the greatest to span over 400yrs.

Best I ever heard from her…intensity rivals Shwartzkopt at her very best in this scene in Meistersinger from 1950

FANTASTIC :):):)

Wonderful! My mother saw this opera some years ago in Scotland at the Edinburgh Festival, and apparently when they got to the bit where Mary calls Elizabeth una bastarda all the people in the theatre cheered!

Listen to the late Soprano, Chloe Owen

Que voz más hermosa, no la conocía, y además es alemana. Muchas gracias por publicar el video.

M'odi ah m'odi was a bit rushed for my taste.

Ha un modo di cantare molto melodioso 🎼

Великая певица с мощным голосом! Покойся с миром, Ева😢. Ценители оперы будут помнить тебя и восхищаться твоим голосом!❤❤❤

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Gorgeously singing!!

Sputenda!!!!! Quanto adoro questa DIVA René Fleming!!! ❤

Tout à fait impressionnant ! Quelle tenue de voix🤩 Difficilement égalable...

La Sigbora Fleming è una delle cantanti I più brave che v oce bella ha

The voice never was thick in the middle. Her density decreased after 1998. She smoothed out the sound and scaled it back to avoid growing the voice out of the lyric sop rep. She also has a slight flutter at this point which worried her. It was a change in approach that also removed this. The blue note thing was everywhere in the voice by 2000. Here it was a cleaner bigger voice with the signature agility and easy "pour" /bloom in the sound". 34/35 years old. She retained the bloom the tone and enough of the flexibility but the volume and clean thing left. It became more jazzy and unusual.

I'm reading all those comments and wondering, people, what are you talking about? Everyone of us has own favorites, due to the the moments we remember. No one needs to prefer Podles, especially outside her comfort zone. Opera is about quarrels over favorite singers, true. But what comes from comparing champagne to cognac? Very few of us have a good idea about the technique, especially in our times of the pseudo-opera. Yes, Podles'es airyness was a flaw, like some other characteristics of her voice. Who in the post-Horne era hasn't got them? If you think that Podles took bad education or was "too lazy to develop her voice", you don't understand her. She couldn't overcome some problems, some she added as a price for her choices. For example the airyness: it was her taste and her trick to agility and range. Eva had an "alien", "hounted" voice, a bad fit for opera, but she made it make unique magic. Let's be practical: in O don fatale we are in the theater. Podles, a skilled and visionary artist, did so much (do you think it was too much?) to present a vulnerable moment of a broken powerful woman. She avoided chest here? It makes sense to me. Where you saw brutal spikes, I saw tricks to deliver clear theatrical pronunciation, so rare today, that people think that it's out of place. We have a favorite (often the first heard) rendition of an aria and we believe that it should be performed that way. Should it? No more artists, we want only imitators? Well... Well: thanks to different artists everytime we discover different meanings in the same stories. Isn't that what opera is about?

Piękno zawsze zostaje ...w pamięci .To wspaniałe słyszeć ..Jej ..interpretacje .❤🥀🥀