Whatever nerves were afflicting her, she masks it well. I think this is better than the recording that appeared a year earlier on her Signatures CD. Perhaps fear of failing pushed her to greater heights.
Would you happen to have an audio a live Cosi performance? I admire her Solti performance but her I find that her commercial work her Mozart roles are for whatever reason never as amazing as the live audio bits.
Peter Callahan I wish I did. I've never seen any reference to a live broadcast of hers even although she sang Fiordiligi quite a lot in her early career. The recording with Solti is in fact from a live concert performance, but I know what you mean, you want a staged live performance where's she's living the role. Hopefully one will turn up!
Thank you so much for posting! I have a question on whether it is Porgi Amor or Dove Sono that has been difficult for Ms. Fleming. Says in her book that it was Dove Sono but you state something else. Is there maybe a missprint in the book you think? Greetings from Sweden🎶😍🎶
chaan280 ok I think I found the part online and although she says Dove Sono, she describes in detail the nerves of starting Act II which is this aria, the countess' entrance, so that's why I wrote the above. I'll change it when I get back to my computer.
Great moments of opera Yes I absolutely believe this was a scary way to entry an opera. Even without having severe stagefright. However I also wonder about the bit where her daughter Amelia is brought to her which is said - in the book - to be after the Porgi Amor, but in the tapet version Amelia is brought to her in advance of the song. Maybe they changed it to calm her nerves. Or cut the tape. It certainly made a better story for the book.😉 This aria however is also one of my favourites. Thanks!🎶😍🎶
Great moments of opera Oh I am terribly sorry! I didn’t realize this was Chicago where she - according to the book - sang earlier the same year and where the troubles really began. At the Met in november it had gotten worse but I don’t need to take this further. If it was Porgi Amor and act II or Dove Sono act III that was the worst - she survived and carried on which is the most important thing.😉I will now listen more carefully to this recording from Chicago. Look forward to future posts of yours.🎶😍🎶
Glorious voice. I just wish she wouldn’t do the few self-indulgent affections in her singing (that quasi-straight note singing with a throaty “scoop”).
I saw her at Lyric in 1998 - this was my first Figaro and the gold standard!
I always come back to this recording. Such beautiful, expressive singing.
Love this peace
Straordinaria interprete di questo Ruolo
Extraordinary interpreter of this role
Love this
Whatever nerves were afflicting her, she masks it well. I think this is better than the recording that appeared a year earlier on her Signatures CD. Perhaps fear of failing pushed her to greater heights.
I agree with that - the Solti recording is nice, but somehow not as affecting as this. Such incredible beauty and pathos.
Would you happen to have an audio a live Cosi performance? I admire her Solti performance but her I find that her commercial work her Mozart roles are for whatever reason never as amazing as the live audio bits.
Peter Callahan I wish I did. I've never seen any reference to a live broadcast of hers even although she sang Fiordiligi quite a lot in her early career. The recording with Solti is in fact from a live concert performance, but I know what you mean, you want a staged live performance where's she's living the role.
Hopefully one will turn up!
Thank you so much for posting! I have a question on whether it is Porgi Amor or Dove Sono that has been difficult for Ms. Fleming. Says in her book that it was Dove Sono but you state something else. Is there maybe a missprint in the book you think? Greetings from Sweden🎶😍🎶
chaan280 oh maybe I got it wrong?! I thought it was this one as she said she found the 'easier' aria more scary, but will have to check!
chaan280 ok I think I found the part online and although she says Dove Sono, she describes in detail the nerves of starting Act II which is this aria, the countess' entrance, so that's why I wrote the above. I'll change it when I get back to my computer.
Great moments of opera Yes I absolutely believe this was a scary way to entry an opera. Even without having severe stagefright. However I also wonder about the bit where her daughter Amelia is brought to her which is said - in the book - to be after the Porgi Amor, but in the tapet version Amelia is brought to her in advance of the song. Maybe they changed it to calm her nerves. Or cut the tape. It certainly made a better story for the book.😉 This aria however is also one of my favourites. Thanks!🎶😍🎶
chaan280 oh interesting: this is Chicago, whereas the taped one was the Met a season or two later - didn't realise they were the same production.
Great moments of opera Oh I am terribly sorry! I didn’t realize this was Chicago where she - according to the book - sang earlier the same year and where the troubles really began. At the Met in november it had gotten worse but I don’t need to take this further. If it was Porgi Amor and act II or Dove Sono act III that was the worst - she survived and carried on which is the most important thing.😉I will now listen more carefully to this recording from Chicago. Look forward to future posts of yours.🎶😍🎶
Glorious voice. I just wish she wouldn’t do the few self-indulgent affections in her singing (that quasi-straight note singing with a throaty “scoop”).
I love Renée’s singing just the way she does it!!!
Wow, she was a bit out of tune here.
Where?