Mysterious melodies. Heart-wrenching lyrics. Excellent orchestra. And Renée Fleming is the perfect vocalist to capture and deliver such a painful yet beautiful moment in life.
I have not commented very much before, but this opera is truly one of the saddest and beautiful American treasures. I had the privilege to design scenery for a production of it a few years ago and this Aria always held me transfixed. And Renee Fleming is flawless here.
My friend and I saw this opera yesterday at the Tennessee Performing Arts Center! It was my first opera, and being a born and raised Nashvillian, it was so cool to hear it in music city, being that the opera is set in rural Tennessee! Heartbreaking to watch. But so wonderful.
The trees on the mountains are cold and bare The summer just vanished and left them there Like a false hearted lover, just like my own Who made me love him, then left me alone The coals on the hearth have turned grey and sere The blue flame just vanished and left them there Like a false hearted lover, just like my own Who made me love him, then left me alone Come back oh summer, come back blue flame My heart wants warmin', my baby a name Come back oh lover if just for a day Turn bleak December once more into May The road up ahead lies lonely and far There's darkness around me and not even a star To show me the way or lighten my heart Come back my lover I fain would start The poor baby fox lies all cold in his lair His mama just vanished and left them there Like a false hearted lover just like my own Who made me love him, then left me alone Come back oh summer, come back blue flame My heart wants warmin', my baby a name Come back oh lover if just for a day Turn bleak December once more into May Come back oh summer, come back blue flame My heart wants warmin', my baby a name Come back oh lover if just for a day Turn bleak December once more into May Come back! Come back! Come back! see less
So stunning! As is her "Ain't it a pretty night" from the same opera. She is a wonderful singer and musician and she times her singing to the harmonic changes perfectly. You hear her start to sing and you know you are going to be transported....even so, I cannot dismiss Cheryl Studer's rendition which some find contrived. Happy listening!
Enjoying reading your comments....I love Ms. Flemings voice and interpretation, but Ms Struders seems timber seems perfectly suited to this mystical and sorrowful song......I listen to her rendering over and over and feel its emotion each time as if I were hearing it for the first time
Both Fleming and Studer versions of Susannah are lovely and poignant. I, too, love both. Overall, Studer seems more true to the character, locale, phrasing, and tone of Susannah. However, between the recordings of this particular aria, I believe Fleming's is preferable. The enunciation in her higher register is perfect - pure and decipherable; effective but without affect. Studer's recording remains the gold standard, overall. But Fleming owns this particular aria.
Studer also doesn’t have the chest register for the rest of the role. The last scene is absolutely in the basement and requires super heavy chest voice.
@JulianneMoret I have the score in front of me (and just performed this aria today) and there are no high Cs written in this aria. They are often taken as embellishments, but they aren't part of the original score.
@heartofsorrow No, my apologies if I sounded rude! I am a little complacent on this as well. I think Studer's voice is PERFECTLY suited to this piece; her diction is fantastic and she finishes so beautifully. What's not to love? But Renee is able to convey such a sense of warmth and intimacy, even with her large and dominating voice! Honestly, both are amazing!
Studer's technique was horribly, sadly flawed by a man who was a charlatan who knew nothing about the science of singing. I took one lesson from him and never went back. Studer managed so beautifully for a little while in spite of him.
@heartofsorrow Excuse me, but I was referring to Scalatti's nature to excessively spam Renee Fleming videos with hateful and unnecessary comments. Cheryl Studer's interpretation is beautiful, I do not disagree. Music is always subjective, and clearly a matter of preference. That is simply not the point I was trying to make!
@JordanSean: Apologies once more if I sounded snappy in the first or second comment. I hate sounding snappy. I understand your frustration with Scalatti and did not understand the history of the occasion. On a side note, which *do* you prefer? I can't decide, myself. I like both for different aspects and decisions :p
@Jordan Sean: I don't know about necessary but it is important to know that there is more than Renee Fleming to these arias. I like both Fleming's and Studer's interpretation for different reasons but don't necessarily like one over the other. And one isn't even better than the other, it's just a matter of preference...
It's a great aria, but I'm wondering why Renee skips the 3 top Cs which are in it? I can't imagine it's beyond her. The composer wrote them for effect and meant them to be in there. So really this isn't a correct version. It's also meant to be sung in a Tennessee mountain dialect (I don't blame her for skipping that, though!)
I send this song to my friend she left by her long time false -hearted lover in Ukraine in Nikolaev in bombing town and take his other woman with him to Hungary with children .
Mysterious melodies. Heart-wrenching lyrics. Excellent orchestra. And Renée Fleming is the perfect vocalist to capture and deliver such a painful yet beautiful moment in life.
I have not commented very much before, but this opera is truly one of the saddest and beautiful American treasures. I had the privilege to design scenery for a production of it a few years ago and this Aria always held me transfixed. And Renee Fleming is flawless here.
Is there nothing Renee Fleming can't do. I love this woman. She is a treasure.
Yes, there are some things she can't do.
@@josephcollins6033 Yup, her bel canto album should never have happened!
@@josephcollins6033 Not many things!!
This aria seriously reaches into my heart and rips it apart!!!
This is PERFECT in her voice. Just perfect.
I listened to Ms Fleming sing this in the Met production of, "Susanna". When she finished the song, there was thunderous applause!!
Hauntingly beautiful and the song is wonderful too.
My friend and I saw this opera yesterday at the Tennessee Performing Arts Center! It was my first opera, and being a born and raised Nashvillian, it was so cool to hear it in music city, being that the opera is set in rural Tennessee! Heartbreaking to watch. But so wonderful.
Really beautiful and a faithful interpretation of the piece. Her voice rings beautifully here and there are a lot f colours.
Exquisite. ❤
I'd listen to this all day and all night. A beautiful piece sung beautifully :)
i feel moved to comment for the first time ever on youtube - renee sings this exquisitely, and the ending...magic.
ugh, tears. every time
Yes... she is the best I have heard! wish she would come to Charlotte again...
This is so beautiful and vocaly splendid!
My idol.. Whenever I need motivation, I listen to her.
The trees on the mountains are cold and bare
The summer just vanished and left them there
Like a false hearted lover, just like my own
Who made me love him, then left me alone
The coals on the hearth have turned grey and sere
The blue flame just vanished and left them there
Like a false hearted lover, just like my own
Who made me love him, then left me alone
Come back oh summer, come back blue flame
My heart wants warmin', my baby a name
Come back oh lover if just for a day
Turn bleak December once more into May
The road up ahead lies lonely and far
There's darkness around me and not even a star
To show me the way or lighten my heart
Come back my lover I fain would start
The poor baby fox lies all cold in his lair
His mama just vanished and left them there
Like a false hearted lover just like my own
Who made me love him, then left me alone
Come back oh summer, come back blue flame
My heart wants warmin', my baby a name
Come back oh lover if just for a day
Turn bleak December once more into May
Come back oh summer, come back blue flame
My heart wants warmin', my baby a name
Come back oh lover if just for a day
Turn bleak December once more into May
Come back! Come back! Come back! see less
Isabella Klotz 🌹🦋Thanks for the verses!🌹😉💜💕🙏🏾🦋😇
Absolutely perfectly performed She is one of the very best!!!
I'm about to start learning this song in Voice! I am so excited, especially with this introduction to it!
So stunning! As is her "Ain't it a pretty night" from the same opera. She is a wonderful singer and musician and she times her singing to the harmonic changes perfectly. You hear her start to sing and you know you are going to be transported....even so, I cannot dismiss Cheryl Studer's rendition which some find contrived. Happy listening!
this is very beautiful x x
Brilliant!
Siempre maravillosa--¡¡
Bellísima Aria..!!
Chills and cue instant ugly cry❤️
Rest In Peace, Maestro Floyd
Enjoying reading your comments....I love Ms. Flemings voice and interpretation, but Ms Struders seems timber seems perfectly suited to this mystical and sorrowful song......I listen to her rendering over and over and feel its emotion each time as if I were hearing it for the first time
Same here. I find Fleming emotionally pallid compared to Studer in this aria.
W-O-W!!
@Julianna Moret, the high C was added later by the composer and was not in the original score.
Thanks for that info. I was wondering
Both Fleming and Studer versions of Susannah are lovely and poignant. I, too, love both. Overall, Studer seems more true to the character, locale, phrasing, and tone of Susannah. However, between the recordings of this particular aria, I believe Fleming's is preferable. The enunciation in her higher register is perfect - pure and decipherable; effective but without affect.
Studer's recording remains the gold standard, overall. But Fleming owns this particular aria.
Studer is left in the dust
Studer also doesn’t have the chest register for the rest of the role. The last scene is absolutely in the basement and requires super heavy chest voice.
@JulianneMoret I have the score in front of me (and just performed this aria today) and there are no high Cs written in this aria. They are often taken as embellishments, but they aren't part of the original score.
It's in the key of B flat, anyway. Can't see any reason to embellish it. This isn't a Mozart aria, but to be sung as a simple folk song.
Elise Sheppard
G minor, actually, not B flat.
+Carly Henderson Could you tell me where you got the sheet music from?
+harrypotter61671 I'm a peabody student, and I actually got the score from my school's library.
Do you know if I can get it anywhere online or anywhere?
@heartofsorrow No, my apologies if I sounded rude!
I am a little complacent on this as well. I think Studer's voice is PERFECTLY suited to this piece; her diction is fantastic and she finishes so beautifully. What's not to love? But Renee is able to convey such a sense of warmth and intimacy, even with her large and dominating voice! Honestly, both are amazing!
Studer's technique was horribly, sadly flawed by a man who was a charlatan who knew nothing about the science of singing. I took one lesson from him and never went back. Studer managed so beautifully for a little while in spite of him.
@heartofsorrow Excuse me, but I was referring to Scalatti's nature to excessively spam Renee Fleming videos with hateful and unnecessary comments. Cheryl Studer's interpretation is beautiful, I do not disagree. Music is always subjective, and clearly a matter of preference. That is simply not the point I was trying to make!
@JordanSean Always. Absolutely.
Agreed!
Sorry, I meant 2 top C's - typo! Just be aware if you're learning this that most people skip them, but they're in there!
@JordanSean: My apologies. I misunderstood and didn't realize his remarks were in excess.
@JordanSean: Apologies once more if I sounded snappy in the first or second comment. I hate sounding snappy. I understand your frustration with Scalatti and did not understand the history of the occasion.
On a side note, which *do* you prefer? I can't decide, myself. I like both for different aspects and decisions :p
@Jordan Sean: I don't know about necessary but it is important to know that there is more than Renee Fleming to these arias. I like both Fleming's and Studer's interpretation for different reasons but don't necessarily like one over the other. And one isn't even better than the other, it's just a matter of preference...
HI! Does anyone know where to get this score for voice and piano? Please :)
Exploratorio Creativo Taller you could look on IMSLP. You can order the score for Susannah as well, or go to a reference library/music library
There’s a collection of arias from this opera for voice and piano available for $6 from SheetMusicPlus.
The entire score is also available.
Cheryl Studer's sublime and yet-to-be-matched interpretation is now in my channel.
Do you have the lyrics?
@Scalatti Is this really necessary?
It's a great aria, but I'm wondering why Renee skips the 3 top Cs which are in it? I can't imagine it's beyond her. The composer wrote them for effect and meant them to be in there. So really this isn't a correct version. It's also meant to be sung in a Tennessee mountain dialect (I don't blame her for skipping that, though!)
I send this song to my friend she left by her long time false -hearted lover in Ukraine in Nikolaev in bombing town and take his other woman with him to Hungary with children .
@heartofsorrow Not at all! :)
@IfYourMomWereATaco And so do I. Better flat than slimy. Always. And no, my mom ain't no taco...
So very lovely, if already nursing some irritating mannerisms which kept me from listening to her by 2004
Great sound but I can barely understand a word. Love Renee, though!