I am a big fan of Renee Fleming, but I do not agree with the assessment of the person who posted this--or the comments of everyone else here. First, Pidò takes the first part way too slow. Many conductors think that "bel canto" should be played extremely slowly to allow us to hear the "beautiful singing." But in my view bel canto needs the excitement of a certain tempo in order to have its full effect. (This is especially true in "Norma.") This just drags--and becomes boring. The voices of both Fleming and Schagibullin are undeniably beautiful. But a second, and more important, problem here is the lack of rubato. That is what really makes Bellini Bellini. You need to listen to Maria Callas' performance at Carnegie Hall in 1959 to hear what truly "melancholic lyricism" can be. It has to do with rhythm and emphasis (leaning into notes, according to the meaning of the words). Of course, Callas' voice in 1959 is in itself not the gorgeous instrument that Fleming possesses, but for me at least, she stops me in my tracks at the genius of the composer (not only the singer). No one that I've heard, including Caballé, achieves the same effect (and this is true throughout the opera). The performance here directs attention to the singers (who are excellent), not to the composer or his work. Finally, there is no way around the fact that Fleming's diction is faulty. Even with the text provided here, it is hard to tell what she is saying/singing in a number of places. I think she was better several years later when she sang this at the Met, but even there--and for the same reasons (slow tempi, lack of rubato, diction)--she did not get to the heart of "Il Pirata"s tragedy.
Objectively speaking there is plenty of rubato here. You are I think just used to Callas’ rubato, and the sense of dragging is also I think you being used to other versions. I get exactly the same when there’s a version I love and am used to, and I hear another version that other people love, and I think, this isn’t how the music goes! BUT often if I’m objective and look at the score, it’s just because I’m used to the Callas one I love, or whoever!
@@theoperacompany5849 You may well be correct, but I have also had the opposite experience: namely, coming upon a recording which so far surpasses a previous version that I favored for many years that my opinion of the former favorite changes. In other words, it's not only a matter of liking "what I'm used to" but also of finding an interpreter who brings out something in the composer's work that gets to what seems to me like the heart of the matter--and which no other interpreter has been able to do. Up to now. Stay tuned.
Beautiful control of the line. That high pianissimo into the melismas was immaculate.
The best this duet has ever been sung.
What can I say? Beautiful, heavenly, exciting, and just simply divine singing. Brava😘
Beautiful description, even more beautiful singing.
oh. my. god. Unbelievably gorgeous. Thanks for sharing
So glad you enjoyed it! Gave me joy to read this comment again!
I am a big fan of Renee Fleming, but I do not agree with the assessment of the person who posted this--or the comments of everyone else here. First, Pidò takes the first part way too slow. Many conductors think that "bel canto" should be played extremely slowly to allow us to hear the "beautiful singing." But in my view bel canto needs the excitement of a certain tempo in order to have its full effect. (This is especially true in "Norma.") This just drags--and becomes boring.
The voices of both Fleming and Schagibullin are undeniably beautiful. But a second, and more important, problem here is the lack of rubato. That is what really makes Bellini Bellini. You need to listen to Maria Callas' performance at Carnegie Hall in 1959 to hear what truly "melancholic lyricism" can be. It has to do with rhythm and emphasis (leaning into notes, according to the meaning of the words). Of course, Callas' voice in 1959 is in itself not the gorgeous instrument that Fleming possesses, but for me at least, she stops me in my tracks at the genius of the composer (not only the singer). No one that I've heard, including Caballé, achieves the same effect (and this is true throughout the opera). The performance here directs attention to the singers (who are excellent), not to the composer or his work.
Finally, there is no way around the fact that Fleming's diction is faulty. Even with the text provided here, it is hard to tell what she is saying/singing in a number of places. I think she was better several years later when she sang this at the Met, but even there--and for the same reasons (slow tempi, lack of rubato, diction)--she did not get to the heart of "Il Pirata"s tragedy.
Agreed w Everything you said! It was also well articulated.
@@mistersmith1883 Thank you, Mister Smith.
Objectively speaking there is plenty of rubato here. You are I think just used to Callas’ rubato, and the sense of dragging is also I think you being used to other versions. I get exactly the same when there’s a version I love and am used to, and I hear another version that other people love, and I think, this isn’t how the music goes! BUT often if I’m objective and look at the score, it’s just because I’m used to the Callas one I love, or whoever!
@@theoperacompany5849 You may well be correct, but I have also had the opposite experience: namely, coming upon a recording which so far surpasses a previous version that I favored for many years that my opinion of the former favorite changes. In other words, it's not only a matter of liking "what I'm used to" but also of finding an interpreter who brings out something in the composer's work that gets to what seems to me like the heart of the matter--and which no other interpreter has been able to do. Up to now. Stay tuned.
Brutto tutto. Povero Bellini.