105 frushena 2005-06-27 22:14:04
Russalka-ját érdemes? Nem! Másként kérdezem! Nekem tetszene? :))
Russalka-ját érdemes? Nem! Másként kérdezem! Nekem tetszene? :))
104 janomano 2005-06-27 21:43:51 [Válasz erre: 103 frushena 2005-06-27 21:38:34]
Néha azért az is felmerül, hogy kinek a bőrében! Lásd: Jacko. De szerintem a bőrtémát ejthetjük! :-DDD
Néha azért az is felmerül, hogy kinek a bőrében! Lásd: Jacko. De szerintem a bőrtémát ejthetjük! :-DDD
103 frushena 2005-06-27 21:38:34 [Válasz erre: 102 janomano 2005-06-27 21:36:23]
Naés! Ha Ő úgy jólérzi magát a bőrében ...
Naés! Ha Ő úgy jólérzi magát a bőrében ...
102 janomano 2005-06-27 21:36:23 [Válasz erre: 101 frushena 2005-06-27 21:32:52]
Méé ne? :-) Már úgyse tudnak pontot levonni, egyébként is mondtam már, hogy bejön... Mondjuk, ahogy így elnéztem a régebbi, meg a mostani képeit, ő is áteshetett 1-2 műtéten, de ez amerikában népbetegség...
Méé ne? :-) Már úgyse tudnak pontot levonni, egyébként is mondtam már, hogy bejön... Mondjuk, ahogy így elnéztem a régebbi, meg a mostani képeit, ő is áteshetett 1-2 műtéten, de ez amerikában népbetegség...
101 frushena 2005-06-27 21:32:52 [Válasz erre: 100 janomano 2005-06-27 21:29:44]
Szerintem nincs! :) Na, ne gonoszkodjunk itten kéremszépen.
Szerintem nincs! :) Na, ne gonoszkodjunk itten kéremszépen.
100 janomano 2005-06-27 21:29:44 [Válasz erre: 99 frushena 2005-06-27 21:25:56]
Van bent kispárna is? :-) Nem baj! Sosem tetszettek az \"egyszálbélű botsáskák\".
Van bent kispárna is? :-) Nem baj! Sosem tetszettek az \"egyszálbélű botsáskák\".
99 frushena 2005-06-27 21:25:56
[url]http://www.sptimes.com/2003/04/27/photos/arts-FLEMING.jpg;Orfeusz ;)[/url]
[url]http://www.sptimes.com/2003/04/27/photos/arts-FLEMING.jpg;Orfeusz ;)[/url]
98 janomano 2005-06-27 21:16:32
[url]http://www.amazon.com/gp/product/images/B000003G47/ref=dp_product-image-only_0/104-0182995-7120703?%5Fencoding=UTF8&n=5174&s=classical;Ezen[/url] meg az az igazi kis ír töltöttgalamb! :-)
[url]http://www.amazon.com/gp/product/images/B000003G47/ref=dp_product-image-only_0/104-0182995-7120703?%5Fencoding=UTF8&n=5174&s=classical;Ezen[/url] meg az az igazi kis ír töltöttgalamb! :-)
97 frushena 2005-06-27 21:09:39 [Válasz erre: 95 janomano 2005-06-27 20:33:28]
[url]http://rds.yahoo.com/S=96062883/K=ren%C3%A9e+fleming/v=2/SID=w/l=IVS/SIG=12j86fmfk/EXP=1119985553/*-http%3A//ruggedelegantliving.com/a/images/Renee-Fleming-photo.jpg;Ezen[/url] és [url]http://rds.yahoo.com/S=96062883/K=ren%C3%A9e+fleming/v=2/SID=w/l=IVS/SIG=12d3297dn/EXP=1119985627/*-http%3A//www.sunmedia.ca/MusicImagesF/fleming_renee_160.jpg;Ezen[/url] sem épp rút!
[url]http://rds.yahoo.com/S=96062883/K=ren%C3%A9e+fleming/v=2/SID=w/l=IVS/SIG=12j86fmfk/EXP=1119985553/*-http%3A//ruggedelegantliving.com/a/images/Renee-Fleming-photo.jpg;Ezen[/url] és [url]http://rds.yahoo.com/S=96062883/K=ren%C3%A9e+fleming/v=2/SID=w/l=IVS/SIG=12d3297dn/EXP=1119985627/*-http%3A//www.sunmedia.ca/MusicImagesF/fleming_renee_160.jpg;Ezen[/url] sem épp rút!
96 frushena 2005-06-27 21:04:23 [Válasz erre: 94 janomano 2005-06-27 20:30:30]
:) Valóban nem a legjobb.
:) Valóban nem a legjobb.
95 janomano 2005-06-27 20:33:28 [Válasz erre: 90 frushena 2005-06-27 17:06:07]
Pláne mondjuk [url]http://www.amazon.com/gp/product/images/B0007Z9QUS/ref=dp_product-image-only_0/104-0182995-7120703?%5Fencoding=UTF8&n=507846&s=music;ehhez[/url] képest.
Pláne mondjuk [url]http://www.amazon.com/gp/product/images/B0007Z9QUS/ref=dp_product-image-only_0/104-0182995-7120703?%5Fencoding=UTF8&n=507846&s=music;ehhez[/url] képest.
94 janomano 2005-06-27 20:30:30 [Válasz erre: 90 frushena 2005-06-27 17:06:07]
Nem túl előnyös kép! :-)))
Nem túl előnyös kép! :-)))
93 frushena 2005-06-27 18:55:51 [Válasz erre: 91 Búbánat 2005-06-27 18:19:57]
Mit teszek? Sajnálom magamat! :\'(! :O)) A numer7.com-on érdeklődök épp. Ha nem lesz akkor valószínűleg az amazon-ról megrendelem. Persze, majd csak akkor ha az eddigi rendelések célbaérnek. Kissé túlzásba vittem mostanába a vásárolgatást. Két CD-t várok, majd utána jöhet az Armida! :-)
Mit teszek? Sajnálom magamat! :\'(! :O)) A numer7.com-on érdeklődök épp. Ha nem lesz akkor valószínűleg az amazon-ról megrendelem. Persze, majd csak akkor ha az eddigi rendelések célbaérnek. Kissé túlzásba vittem mostanába a vásárolgatást. Két CD-t várok, majd utána jöhet az Armida! :-)
91 Búbánat 2005-06-27 18:19:57 [Válasz erre: 90 frushena 2005-06-27 17:06:07]
Igen, ez az. És akkor most mit teszel? Megrendeled?
Igen, ez az. És akkor most mit teszel? Megrendeled?
90 frushena 2005-06-27 17:06:07 [Válasz erre: 89 Búbánat 2005-06-27 16:40:48]
Megvolt ez a felvétel. Csak a gépen. És ugye ... azok elvesztek. [url]http://images.amazon.com/images/P/B0000029L0.01._SCLZZZZZZZ_.jpg;Rossini : Armida - Fleming[/url]
Megvolt ez a felvétel. Csak a gépen. És ugye ... azok elvesztek. [url]http://images.amazon.com/images/P/B0000029L0.01._SCLZZZZZZZ_.jpg;Rossini : Armida - Fleming[/url]
89 Búbánat 2005-06-27 16:40:48
Most találtam rá a katalógusban. Számomra új internetes lemezkatalógus hozzáférése: http://images.gogle.com/images A Google kereső ablakba beírom mondjuk Giovanni Pacini nevét, majd rákattintok a kép keresésre. Utána bejönnek Paciniről különböző képek, lemezboritók. Meg keresem mondjuk a Saffo lemez képét,amire kattintva megjelenik a katalógus. Kicsit macerás, de megéri. Rossini A R M I D A Renée Fleming Gregory Kunde Bruce Fowler 1996 A P.O.E recording 2CD CA458 stereo
Most találtam rá a katalógusban. Számomra új internetes lemezkatalógus hozzáférése: http://images.gogle.com/images A Google kereső ablakba beírom mondjuk Giovanni Pacini nevét, majd rákattintok a kép keresésre. Utána bejönnek Paciniről különböző képek, lemezboritók. Meg keresem mondjuk a Saffo lemez képét,amire kattintva megjelenik a katalógus. Kicsit macerás, de megéri. Rossini A R M I D A Renée Fleming Gregory Kunde Bruce Fowler 1996 A P.O.E recording 2CD CA458 stereo
87 Orfeusz 2005-06-23 17:25:22
A tervek szerint a jövő évi Rodelindát a Met-ben(2006.júl.) Dvd-re veszik.(Fleminggel)
A tervek szerint a jövő évi Rodelindát a Met-ben(2006.júl.) Dvd-re veszik.(Fleminggel)
86 orlandofurioso 2005-06-22 20:54:34 [Válasz erre: 82 Orfeusz 2005-06-21 23:41:58]
Igazad van, csak újracsomagolják. Akkor te kétszer tudsz ugyanabba a folyóba is lépni.
Igazad van, csak újracsomagolják. Akkor te kétszer tudsz ugyanabba a folyóba is lépni.
85 Escamillo 2005-06-22 19:32:59
Ma este 22.30 Bartók Rádió: R.F. operafelvételiből. Kár lenne kihagyni.
Ma este 22.30 Bartók Rádió: R.F. operafelvételiből. Kár lenne kihagyni.
84 Orfeusz 2005-06-22 11:19:46
[url]http://info.royaloperahouse.org/News/Index.cfm?ccs=778;bővebben..[/url]
[url]http://info.royaloperahouse.org/News/Index.cfm?ccs=778;bővebben..[/url]
83 Orfeusz 2005-06-22 11:18:46
Renée Flemingnek valóban komoly családi problémái lehetnek,(ami okkal lemondta a Thaist is), mert személyes okokra hivatkozással lemondta a londoni Covent Garden Otellojának első két előadását is..
Renée Flemingnek valóban komoly családi problémái lehetnek,(ami okkal lemondta a Thaist is), mert személyes okokra hivatkozással lemondta a londoni Covent Garden Otellojának első két előadását is..
82 Orfeusz 2005-06-21 23:41:58 [Válasz erre: 81 orlandofurioso 2005-06-21 23:36:21]
azért ez nem annyira új:)
azért ez nem annyira új:)
81 orlandofurioso 2005-06-21 23:36:21
Mindent kétszer mond, mindent kétszer mond.
Mindent kétszer mond, mindent kétszer mond.
80 orlandofurioso 2005-06-21 23:34:00
Újabb DVD a TDK kínálatában: Massenet: Manon - Fleming, Álvarez
Újabb DVD a TDK kínálatában: Massenet: Manon - Fleming, Álvarez
79 orlandofurioso 2005-06-21 23:33:48
Újabb DVD a TDK kínálatában: Massenet: Manon - Fleming, Álvarez
Újabb DVD a TDK kínálatában: Massenet: Manon - Fleming, Álvarez
77 Orfeusz 2005-06-19 11:12:10
[url]http://imgs.idnes.cz/hudba/A031113_LF_FLEMING_V1_V.JPG;kép1[/url] [url]http://www.muzikus.cz/harmonie/archiv/9909/clanky/obr/cl1.jpg;kép2[/url]
[url]http://imgs.idnes.cz/hudba/A031113_LF_FLEMING_V1_V.JPG;kép1[/url] [url]http://www.muzikus.cz/harmonie/archiv/9909/clanky/obr/cl1.jpg;kép2[/url]
76 frushena 2005-06-17 08:45:01 [Válasz erre: 74 muzsika 2005-06-17 08:40:34]
Sebaj! Gyere és lelkesedj gyakrabban! :)
Sebaj! Gyere és lelkesedj gyakrabban! :)
75 muzsika 2005-06-17 08:43:24 [Válasz erre: 72 Orfeusz 2005-06-16 15:59:43]
Szia!!! Nincs meg a felvétel, s nagyon örülnék neki, előre is köszönöm...
Szia!!! Nincs meg a felvétel, s nagyon örülnék neki, előre is köszönöm...
74 muzsika 2005-06-17 08:40:34 [Válasz erre: 73 frushena 2005-06-16 23:08:44]
Szia frushena, tegnap egy kicsit tényleg belelkesedtem, de legközelebb igyekszem visszafogni magam. Szerintem elég lesz csak a lényeget lefordítani, azt sem szó szerint. Nem is úgy gondoltam, hogy azonnal, s most kell lefordítani, de ha valakinek van egy kis ideje, talán egy-két modatot lefordíthat. Egymás után találtam a cikkeket, nem tudtam ellenállni. Most már meg van a momuson, majd lesz idő rá lefordítani.Üdv.
Szia frushena, tegnap egy kicsit tényleg belelkesedtem, de legközelebb igyekszem visszafogni magam. Szerintem elég lesz csak a lényeget lefordítani, azt sem szó szerint. Nem is úgy gondoltam, hogy azonnal, s most kell lefordítani, de ha valakinek van egy kis ideje, talán egy-két modatot lefordíthat. Egymás után találtam a cikkeket, nem tudtam ellenállni. Most már meg van a momuson, majd lesz idő rá lefordítani.Üdv.
73 frushena 2005-06-16 23:08:44 [Válasz erre: 71 muzsika 2005-06-16 15:42:16]
Muzsika! Szpesöl tenksz! Viszont most már leállíthatod magad, mert ennyit fordítani ... sokat kell hozzá gondolkodni ... ;) Így évad végén ez már nem megy.
Muzsika! Szpesöl tenksz! Viszont most már leállíthatod magad, mert ennyit fordítani ... sokat kell hozzá gondolkodni ... ;) Így évad végén ez már nem megy.
72 Orfeusz 2005-06-16 15:59:43 [Válasz erre: 71 muzsika 2005-06-16 15:42:16]
Hú..kösz:) van mit fordítani.. Meg van Neked Muzsika a Traviata Fleminggel? Nekem meg van élőben, ha gondolod odaadom..
Hú..kösz:) van mit fordítani.. Meg van Neked Muzsika a Traviata Fleminggel? Nekem meg van élőben, ha gondolod odaadom..
71 muzsika 2005-06-16 15:42:16
A Wish is Granted, and Trouble Begins; Rusalka, Metropolitan Opera by Anthony Tommasini, NEW YORK TIMES, May 3, 2004 One of the roles Renée Fleming often cites as a personal favorite is, of all things, Dvorak\'s Rusalka, the title role in that composer\'s 1901 lyric fairy tale. The story tells of a water nymph entranced by a young prince who comes to bathe in her lake. She yearns to be mortal so that she can truly love him. Ms. Fleming sang her first Rusalka at the Metropolitan Opera in 1997. On Friday night the Met brought back Otto Schenk\'s 1993 production for her, with its verdant sets reminiscent of pages in a storybook. The role demands wistful lyricism, creamy-toned beauty and fragile expressivity, all qualities that ideally suit Ms. Fleming\'s voice and temperament. She sang it beautifully, ably supported by the conductor Andrew Davis, who elicited a luminous and supplely paced performance from the Met orchestra. Though I\'m hardly qualified to say, Ms. Fleming\'s Czech diction sounded convincing to me. One highly unusual aspect of this opera is that in several extended scenes Rusalka sings not a note. To gain her wish she agrees to terms set by her aunt, the witch Jezibaba: Rusalka will be made mortal, but in the presence of the prince and all other mortals she will be mute. When the prince finally meets Rusalka, who appears as a shy and tender young woman, just when any other opera would break into a love duet, this one has a poignantly awkward scene in which the ardent outpourings of the tenor are met with the awkward silences of the soprano. Ms. Fleming\'s face showed a wrenching mix of desire and frustration. In a way this opera is a metaphor for the power of expression. In Act I Rusalka sings the meltingly beautiful \"Song to the Moon,\" in which she asks the moon, whose rays shine on the prince every night, to tell him of her love. Ms. Fleming sang that signature aria with affecting warmth, yet a touch of ethereal coolness to remind us that Rusalka is supernatural. Yet when she becomes human, she realizes that the power of her feelings came partly from being able to express them. At first the prince is touched by Rusalka\'s sad-eyed longing, but her silence eventually exasperates him, and he rejects her for a determined foreign princess who will make a sensible match. Among the admirable cast members were the stalwart bass Willard White as the Water Gnome, Rusalka\'s gruff but well-meaning father; the dusky-toned soprano Eva Urbanova as the Foreign Princess; and the powerful mezzo-soprano Dolora Zajick as the hardy and unabashedly coarse Jezibaba. Ms. Zajick seemed to relish the chance to toss food scraps and spit on the Met stage. Oleg Kulko, a Russian tenor in his Met debut, brought his tall physique and nasal-toned but penetrating voice to the role of the prince.
A Wish is Granted, and Trouble Begins; Rusalka, Metropolitan Opera by Anthony Tommasini, NEW YORK TIMES, May 3, 2004 One of the roles Renée Fleming often cites as a personal favorite is, of all things, Dvorak\'s Rusalka, the title role in that composer\'s 1901 lyric fairy tale. The story tells of a water nymph entranced by a young prince who comes to bathe in her lake. She yearns to be mortal so that she can truly love him. Ms. Fleming sang her first Rusalka at the Metropolitan Opera in 1997. On Friday night the Met brought back Otto Schenk\'s 1993 production for her, with its verdant sets reminiscent of pages in a storybook. The role demands wistful lyricism, creamy-toned beauty and fragile expressivity, all qualities that ideally suit Ms. Fleming\'s voice and temperament. She sang it beautifully, ably supported by the conductor Andrew Davis, who elicited a luminous and supplely paced performance from the Met orchestra. Though I\'m hardly qualified to say, Ms. Fleming\'s Czech diction sounded convincing to me. One highly unusual aspect of this opera is that in several extended scenes Rusalka sings not a note. To gain her wish she agrees to terms set by her aunt, the witch Jezibaba: Rusalka will be made mortal, but in the presence of the prince and all other mortals she will be mute. When the prince finally meets Rusalka, who appears as a shy and tender young woman, just when any other opera would break into a love duet, this one has a poignantly awkward scene in which the ardent outpourings of the tenor are met with the awkward silences of the soprano. Ms. Fleming\'s face showed a wrenching mix of desire and frustration. In a way this opera is a metaphor for the power of expression. In Act I Rusalka sings the meltingly beautiful \"Song to the Moon,\" in which she asks the moon, whose rays shine on the prince every night, to tell him of her love. Ms. Fleming sang that signature aria with affecting warmth, yet a touch of ethereal coolness to remind us that Rusalka is supernatural. Yet when she becomes human, she realizes that the power of her feelings came partly from being able to express them. At first the prince is touched by Rusalka\'s sad-eyed longing, but her silence eventually exasperates him, and he rejects her for a determined foreign princess who will make a sensible match. Among the admirable cast members were the stalwart bass Willard White as the Water Gnome, Rusalka\'s gruff but well-meaning father; the dusky-toned soprano Eva Urbanova as the Foreign Princess; and the powerful mezzo-soprano Dolora Zajick as the hardy and unabashedly coarse Jezibaba. Ms. Zajick seemed to relish the chance to toss food scraps and spit on the Met stage. Oleg Kulko, a Russian tenor in his Met debut, brought his tall physique and nasal-toned but penetrating voice to the role of the prince.
70 muzsika 2005-06-16 15:34:48
A Wish is Granted, and Trouble Begins; Rusalka, Metropolitan Opera by Anthony Tommasini, NEW YORK TIMES, May 3, 2004 One of the roles Renée Fleming often cites as a personal favorite is, of all things, Dvorak\'s Rusalka, the title role in that composer\'s 1901 lyric fairy tale. The story tells of a water nymph entranced by a young prince who comes to bathe in her lake. She yearns to be mortal so that she can truly love him. Ms. Fleming sang her first Rusalka at the Metropolitan Opera in 1997. On Friday night the Met brought back Otto Schenk\'s 1993 production for her, with its verdant sets reminiscent of pages in a storybook. The role demands wistful lyricism, creamy-toned beauty and fragile expressivity, all qualities that ideally suit Ms. Fleming\'s voice and temperament. She sang it beautifully, ably supported by the conductor Andrew Davis, who elicited a luminous and supplely paced performance from the Met orchestra. Though I\'m hardly qualified to say, Ms. Fleming\'s Czech diction sounded convincing to me. One highly unusual aspect of this opera is that in several extended scenes Rusalka sings not a note. To gain her wish she agrees to terms set by her aunt, the witch Jezibaba: Rusalka will be made mortal, but in the presence of the prince and all other mortals she will be mute. When the prince finally meets Rusalka, who appears as a shy and tender young woman, just when any other opera would break into a love duet, this one has a poignantly awkward scene in which the ardent outpourings of the tenor are met with the awkward silences of the soprano. Ms. Fleming\'s face showed a wrenching mix of desire and frustration. In a way this opera is a metaphor for the power of expression. In Act I Rusalka sings the meltingly beautiful \"Song to the Moon,\" in which she asks the moon, whose rays shine on the prince every night, to tell him of her love. Ms. Fleming sang that signature aria with affecting warmth, yet a touch of ethereal coolness to remind us that Rusalka is supernatural. Yet when she becomes human, she realizes that the power of her feelings came partly from being able to express them. At first the prince is touched by Rusalka\'s sad-eyed longing, but her silence eventually exasperates him, and he rejects her for a determined foreign princess who will make a sensible match. Among the admirable cast members were the stalwart bass Willard White as the Water Gnome, Rusalka\'s gruff but well-meaning father; the dusky-toned soprano Eva Urbanova as the Foreign Princess; and the powerful mezzo-soprano Dolora Zajick as the hardy and unabashedly coarse Jezibaba. Ms. Zajick seemed to relish the chance to toss food scraps and spit on the Met stage. Oleg Kulko, a Russian tenor in his Met debut, brought his tall physique and nasal-toned but penetrating voice to the role of the prince.
A Wish is Granted, and Trouble Begins; Rusalka, Metropolitan Opera by Anthony Tommasini, NEW YORK TIMES, May 3, 2004 One of the roles Renée Fleming often cites as a personal favorite is, of all things, Dvorak\'s Rusalka, the title role in that composer\'s 1901 lyric fairy tale. The story tells of a water nymph entranced by a young prince who comes to bathe in her lake. She yearns to be mortal so that she can truly love him. Ms. Fleming sang her first Rusalka at the Metropolitan Opera in 1997. On Friday night the Met brought back Otto Schenk\'s 1993 production for her, with its verdant sets reminiscent of pages in a storybook. The role demands wistful lyricism, creamy-toned beauty and fragile expressivity, all qualities that ideally suit Ms. Fleming\'s voice and temperament. She sang it beautifully, ably supported by the conductor Andrew Davis, who elicited a luminous and supplely paced performance from the Met orchestra. Though I\'m hardly qualified to say, Ms. Fleming\'s Czech diction sounded convincing to me. One highly unusual aspect of this opera is that in several extended scenes Rusalka sings not a note. To gain her wish she agrees to terms set by her aunt, the witch Jezibaba: Rusalka will be made mortal, but in the presence of the prince and all other mortals she will be mute. When the prince finally meets Rusalka, who appears as a shy and tender young woman, just when any other opera would break into a love duet, this one has a poignantly awkward scene in which the ardent outpourings of the tenor are met with the awkward silences of the soprano. Ms. Fleming\'s face showed a wrenching mix of desire and frustration. In a way this opera is a metaphor for the power of expression. In Act I Rusalka sings the meltingly beautiful \"Song to the Moon,\" in which she asks the moon, whose rays shine on the prince every night, to tell him of her love. Ms. Fleming sang that signature aria with affecting warmth, yet a touch of ethereal coolness to remind us that Rusalka is supernatural. Yet when she becomes human, she realizes that the power of her feelings came partly from being able to express them. At first the prince is touched by Rusalka\'s sad-eyed longing, but her silence eventually exasperates him, and he rejects her for a determined foreign princess who will make a sensible match. Among the admirable cast members were the stalwart bass Willard White as the Water Gnome, Rusalka\'s gruff but well-meaning father; the dusky-toned soprano Eva Urbanova as the Foreign Princess; and the powerful mezzo-soprano Dolora Zajick as the hardy and unabashedly coarse Jezibaba. Ms. Zajick seemed to relish the chance to toss food scraps and spit on the Met stage. Oleg Kulko, a Russian tenor in his Met debut, brought his tall physique and nasal-toned but penetrating voice to the role of the prince.
69 muzsika 2005-06-16 15:32:56
When the Stars and the Firmament Seem Well Suited by Allan Kozinn, NEW YORK TIMES; February 19, 2004 Four singers from the Metropolitan Opera, all particularly hot at the moment, convened at Carnegie Hall on Tuesday evening for a recital of Schubert songs that invited great expectations and then exceeded them. Nearly everything about it seemed perfectly judged: the program offered an ample selection of favorites but passed over some of the chestnuts in favor of less frequently heard items in Schubert\'s canon of more than 600 songs. The singers — Renée Fleming, the soprano; Anne Sofie von Otter, the mezzo-soprano; Matthew Polenzani, the tenor; and René Pape, the bass — addressed the music not only with a distinct approach to vocal weight and color but also with the kind of emotional flexibility that can make a three-hour recital seem just the right length. The stage was a picture of studied informality, with the singers seated in plush, matching chairs to either side of James Levine\'s piano, taking turns presenting two songs at a time, 32 in all. It was an arrangement clearly meant to suggest the salon concerts at which these songs were first heard, and if the performance had been at Weill Recital Hall, or even Zankel Hall, an illusion of intimacy might have been easy to create. But this was a modern, big-ticket event and drew an audience that was both huge and varied: listeners spotted in the hall ranged from Milton Babbitt to Elvis Costello. It was left to the performers, therefore, to shrink the space between them and their audience. They succeeded to a great if not entirely surprising extent, and quickly. Mr. Pape, whose bass is fully powered but also remarkably supple, opened the program with quietly dramatic, dark-hued accounts of \"Der Wanderer\" and \"Der Einsame,\" and as the program unfolded, he seemed to have staked a claim on Schubert\'s more depressive, world-renouncing settings, that is, some of this composer\'s most soul-searing songs. His reading of \"In der Ferne\" prized introspection over bitterness, and his performances of two songs from \"Winterreise\" — \"Das Wegweiser\" and \"Das Wirtshaus\" — were highlights of the evening for their chilling immediacy. Ms. von Otter was most striking for a technical fluidity that supported some daring interpretive moves: a touch of evocative gliding into phrases of \"Am See,\" for example, and a combination of clipped articulation and freely flowing phrasing in \"Frühlingsglaube.\" Often, though, her appeal was a matter of simplicity and directness, with her radiant performance of \"Im Abendrot\" and her acidic rendering of \"Der Zwerg\" as the most irresistible examples. A deceptive simplicity was a salient feature of Ms. Fleming\'s singing as well. It takes a refined virtuosity to make these songs sound so easy to sing, particularly with the emotional range that Ms. Fleming brought to them. She built \"Gretchen am Spinnrade,\" for instance, to a peak of almost manic energy, but the real power was in the closing repetition of the first verse, which Ms. Fleming sang with a hushed, almost breathless intensity. Much of the time she leaned on the tawny, almost mezzolike sound that is the most attractive side of her voice. But in her final song, \"Rastlose Liebe,\" she used the brighter edge as well, in a dramatic, painterly way. Mr. Polenzani is the relative newcomer in this crowd, but he was not outclassed, something he proved in his opening pair, a playful, light-textured \"Fischerweise,\" followed by a heart-rending performance of \"Du Liebst Mich Nicht.\" A driven account of \"Mein!\" and a brisk, lively reading of \"Der Musensohn\" in the second half of the program extended the impression. Schubert\'s songs have a lot of piano music in them, and it ranges from the picturesque to the more soulfully direct. Mr. Levine, deferring to the singers, touched on these qualities only fleetingly. Keeping out of a singer\'s way is generally a good rule for an accompanist, but there\'s no need to slip into near invisibility, particularly in this music.
When the Stars and the Firmament Seem Well Suited by Allan Kozinn, NEW YORK TIMES; February 19, 2004 Four singers from the Metropolitan Opera, all particularly hot at the moment, convened at Carnegie Hall on Tuesday evening for a recital of Schubert songs that invited great expectations and then exceeded them. Nearly everything about it seemed perfectly judged: the program offered an ample selection of favorites but passed over some of the chestnuts in favor of less frequently heard items in Schubert\'s canon of more than 600 songs. The singers — Renée Fleming, the soprano; Anne Sofie von Otter, the mezzo-soprano; Matthew Polenzani, the tenor; and René Pape, the bass — addressed the music not only with a distinct approach to vocal weight and color but also with the kind of emotional flexibility that can make a three-hour recital seem just the right length. The stage was a picture of studied informality, with the singers seated in plush, matching chairs to either side of James Levine\'s piano, taking turns presenting two songs at a time, 32 in all. It was an arrangement clearly meant to suggest the salon concerts at which these songs were first heard, and if the performance had been at Weill Recital Hall, or even Zankel Hall, an illusion of intimacy might have been easy to create. But this was a modern, big-ticket event and drew an audience that was both huge and varied: listeners spotted in the hall ranged from Milton Babbitt to Elvis Costello. It was left to the performers, therefore, to shrink the space between them and their audience. They succeeded to a great if not entirely surprising extent, and quickly. Mr. Pape, whose bass is fully powered but also remarkably supple, opened the program with quietly dramatic, dark-hued accounts of \"Der Wanderer\" and \"Der Einsame,\" and as the program unfolded, he seemed to have staked a claim on Schubert\'s more depressive, world-renouncing settings, that is, some of this composer\'s most soul-searing songs. His reading of \"In der Ferne\" prized introspection over bitterness, and his performances of two songs from \"Winterreise\" — \"Das Wegweiser\" and \"Das Wirtshaus\" — were highlights of the evening for their chilling immediacy. Ms. von Otter was most striking for a technical fluidity that supported some daring interpretive moves: a touch of evocative gliding into phrases of \"Am See,\" for example, and a combination of clipped articulation and freely flowing phrasing in \"Frühlingsglaube.\" Often, though, her appeal was a matter of simplicity and directness, with her radiant performance of \"Im Abendrot\" and her acidic rendering of \"Der Zwerg\" as the most irresistible examples. A deceptive simplicity was a salient feature of Ms. Fleming\'s singing as well. It takes a refined virtuosity to make these songs sound so easy to sing, particularly with the emotional range that Ms. Fleming brought to them. She built \"Gretchen am Spinnrade,\" for instance, to a peak of almost manic energy, but the real power was in the closing repetition of the first verse, which Ms. Fleming sang with a hushed, almost breathless intensity. Much of the time she leaned on the tawny, almost mezzolike sound that is the most attractive side of her voice. But in her final song, \"Rastlose Liebe,\" she used the brighter edge as well, in a dramatic, painterly way. Mr. Polenzani is the relative newcomer in this crowd, but he was not outclassed, something he proved in his opening pair, a playful, light-textured \"Fischerweise,\" followed by a heart-rending performance of \"Du Liebst Mich Nicht.\" A driven account of \"Mein!\" and a brisk, lively reading of \"Der Musensohn\" in the second half of the program extended the impression. Schubert\'s songs have a lot of piano music in them, and it ranges from the picturesque to the more soulfully direct. Mr. Levine, deferring to the singers, touched on these qualities only fleetingly. Keeping out of a singer\'s way is generally a good rule for an accompanist, but there\'s no need to slip into near invisibility, particularly in this music.
68 muzsika 2005-06-16 15:29:18
Classical -------------------------------------------------------------------------------- Renée Fleming Symphony Hall, Birmingham Tim Ashley Monday March 22, 2004 The Guardian Many believe American soprano Renée Fleming, who has just started a UK concert tour with conductor Patrick Summers, to have the most beautiful voice in the world. Whether you agree is a matter of preference, though the sound she makes - lustrous and creamy - is indisputably ravishing. We tend to forget, however, what an impeccable technician she can be. She negotiates the coloratura of Fiordiligi\'s Come Scoglio, from Mozart\'s Cosi Fan Tutte, with great exactitude, in contrast to the swivelling approximations of other singers. The Cours de la Reine scene from Massenet\'s Manon, capped with a couple of stunning top Ds, reveals tremendous surety and ease above the stave. The Countess\'s closing monologue from Strauss\'s Capriccio provides us with an object lesson in sustained pianissimo singing, as her voice floats through the long, ecstatic lines. Yet none of this is quite enough. Opera embodies the emotional truth of character in music, and a great operatic recitalist should present us with a series of sharply differentiated figures. Unfortunately, most of the women Fleming portrays sound the same. We\'re shown little psychological difference between Fiordiligi\'s extravagant declarations of fidelity and Manon\'s naive delight at being out on the town. Strauss\'s Countess, irresolvably torn between two men, is barely distinguishable from Puccini\'s manipulative Lauretta, in Gianni Schicchi. Only when she turns to Verdi\'s Desdemona, do we get the full complexity of character and emotion that the music is intended to convey. Gorgeous though much of it is, the concert ultimately exposes the flaws in her artistry, which is based on too much beauty and too little truth. · At the Usher Hall, Edinburgh (0131-228 1155), tonight. Then touring. Useful links Theatre, dance, music and art venues in London and across the UK More by our critics -------------------------------------------------------------------------------- Printable version | Send it to a friend | Save story Advertiser links CD and DVD Duplication with XPRESSCDS Low-cost, fast production and professional duplication of... xpresscds.co.uk CD Duplication UK from 16p, 100 for 67p High quality, great service and value. We offer a priority... discusgroup.co.uk CD and DVD Duplication at Low Prices XpressDuplication offer a one-stop CD and DVD duplication... xpressduplication.co.uk
Classical -------------------------------------------------------------------------------- Renée Fleming Symphony Hall, Birmingham Tim Ashley Monday March 22, 2004 The Guardian Many believe American soprano Renée Fleming, who has just started a UK concert tour with conductor Patrick Summers, to have the most beautiful voice in the world. Whether you agree is a matter of preference, though the sound she makes - lustrous and creamy - is indisputably ravishing. We tend to forget, however, what an impeccable technician she can be. She negotiates the coloratura of Fiordiligi\'s Come Scoglio, from Mozart\'s Cosi Fan Tutte, with great exactitude, in contrast to the swivelling approximations of other singers. The Cours de la Reine scene from Massenet\'s Manon, capped with a couple of stunning top Ds, reveals tremendous surety and ease above the stave. The Countess\'s closing monologue from Strauss\'s Capriccio provides us with an object lesson in sustained pianissimo singing, as her voice floats through the long, ecstatic lines. Yet none of this is quite enough. Opera embodies the emotional truth of character in music, and a great operatic recitalist should present us with a series of sharply differentiated figures. Unfortunately, most of the women Fleming portrays sound the same. We\'re shown little psychological difference between Fiordiligi\'s extravagant declarations of fidelity and Manon\'s naive delight at being out on the town. Strauss\'s Countess, irresolvably torn between two men, is barely distinguishable from Puccini\'s manipulative Lauretta, in Gianni Schicchi. Only when she turns to Verdi\'s Desdemona, do we get the full complexity of character and emotion that the music is intended to convey. Gorgeous though much of it is, the concert ultimately exposes the flaws in her artistry, which is based on too much beauty and too little truth. · At the Usher Hall, Edinburgh (0131-228 1155), tonight. Then touring. Useful links Theatre, dance, music and art venues in London and across the UK More by our critics -------------------------------------------------------------------------------- Printable version | Send it to a friend | Save story Advertiser links CD and DVD Duplication with XPRESSCDS Low-cost, fast production and professional duplication of... xpresscds.co.uk CD Duplication UK from 16p, 100 for 67p High quality, great service and value. We offer a priority... discusgroup.co.uk CD and DVD Duplication at Low Prices XpressDuplication offer a one-stop CD and DVD duplication... xpressduplication.co.uk
67 muzsika 2005-06-16 15:27:40
S & H Concert Review Mozart, Massenet, R. Strauss, Verdi, Wolf-Ferrari, Puccini, Catalani Renée Fleming (soprano); London Philharmonic Orchestra/Patrick Summers, Thursday, March 25th, 2004 (CC) Renée Fleming has a massive following. She has a high-profile recording contract. She has it all … or does she? Previously I had only heard Fleming live once before, in a rather self-consciously beautiful account of Dvorák’s ‘O silver Moon’ from Rusalka at a Gramophone Awards ceremony. Here was a whole evening of her. Rumours have flown around that she is absolutely hypnotic live. Could they be true? Unfortunately, the answer is no. This was a curious evening. It began with a run-through of the Overture to Mozart’s Nozze di Figaro – ‘run-through’ being the operative description, as there appeared to have been little or no rehearsal. This was as routine Mozart as you are likely to find anywhere, with little of the hustle and bustle that one might expect from this fizzy little opener. Still, we hardly got a chance to applaud (should we want to), because Fleming came straight on. More Mozart. Fiordiligi’s ‘Come scoglio’ (Così fan tutte) is a notorious display piece and a brave way to begin the vocal part of the concert. But right from the start (Fleming sang the preceding recitative) words were not clear, the orchestra obediently mirroring this in its own way with some scrappy ensemble. The large leaps of the aria proper produced unfocussed low notes. Things did improve – Fleming hits pitches in her upper register bang in the middle, her trills are text-book and there was even some characterisation in the faux-girlie delivery towards the end. Yet the feeling was that all was not entirely well. Things took a turn for the better, both orchestrally and vocally, in Massenet. The orchestra produced a nicely shaped ‘Le sommeil de Desdemona’ from Suite No. 3 (a nice link to the Verdi Otello excerpt later in the evening), and Fleming proved that the Recitative and Gavotte from Manon is perfect music for her voice. This was immediately apparent, right from the first phrase. Fleming brought a wide range of expression to this section, including some miraculously pure high notes on the crucial line ‘Je suis belle’ and some gorgeous, bell-like staccato passages. Alas some of the words became unclear again, but there was at least the impression of some improvement. Language No. 3 for Richard Strauss’ Capriccio (‘Mondscheinmusik’ and the Countess’ monologue). Immediately there were doubts as to the wisdom of this choice. The orchestra seemed far too small for Strauss’ orchestrational palette (only five cellos that I could see) and did, indeed sound anaemic (including a tonally challenged extended horn solo). Fleming’s German sounded as if from school and overall there was little special here. Perhaps the greatest shame was the lack of any special feeling at the word ‘Tod’ (‘Death’), despite Strauss’ deliberate harmonic shading here. Fleming’s voice remained lovely but detached. The ‘Desdemona’ Scene from Verdi’s Otello after the interval was prefaced by a lacklustre (not entirely together but this time not completely unrehearsed) Sicilian Vespers Overture. The LPO was even better later in Wolf-Ferrari’s Overture to Il segreto di Susanna, which fizzed along nicely. Fleming seemed more at home in the Verdi (from ‘Mi parea’ through the Willow Song and on to the Ave Maria). Words were much clearer, cries of ‘Salce!’ fairly affecting. Yet she could still be four-square (‘Se prima di te morir dovessi/mi seppellisci con un di quei veli’) and she failed to blossom on ‘Cantiamo!’. The highlight of the evening came with ‘O mio babbino caro’ from Puccini’s Gianni Schicchi. Her voice sounded young enough to believe she could have a father who was still alive, and there was a real gentleness about the end. Similarly, ‘Ebben? … Ne andrò lontana’ from Catalani’s La Wally showed more of the Fleming people had presumably come to hear. She did at least sound sad to leave her home while at the same time reaching a decent decibel level – but had she really spent the whole recital saving herself for the last two items? There were encores (naturally, plus a fair few people on their feet – perhaps they needed a stretch). We stayed for two and before we were on our feet, too, homewards – some Cilea (‘Io son lumile ancella’) with a nice sense of line and a Richard Strauss song (‘Caecile’) that found Fleming trying to sound like Schwarzkopf and failing. Infinitely disappointing. Colin Clarke
S & H Concert Review Mozart, Massenet, R. Strauss, Verdi, Wolf-Ferrari, Puccini, Catalani Renée Fleming (soprano); London Philharmonic Orchestra/Patrick Summers, Thursday, March 25th, 2004 (CC) Renée Fleming has a massive following. She has a high-profile recording contract. She has it all … or does she? Previously I had only heard Fleming live once before, in a rather self-consciously beautiful account of Dvorák’s ‘O silver Moon’ from Rusalka at a Gramophone Awards ceremony. Here was a whole evening of her. Rumours have flown around that she is absolutely hypnotic live. Could they be true? Unfortunately, the answer is no. This was a curious evening. It began with a run-through of the Overture to Mozart’s Nozze di Figaro – ‘run-through’ being the operative description, as there appeared to have been little or no rehearsal. This was as routine Mozart as you are likely to find anywhere, with little of the hustle and bustle that one might expect from this fizzy little opener. Still, we hardly got a chance to applaud (should we want to), because Fleming came straight on. More Mozart. Fiordiligi’s ‘Come scoglio’ (Così fan tutte) is a notorious display piece and a brave way to begin the vocal part of the concert. But right from the start (Fleming sang the preceding recitative) words were not clear, the orchestra obediently mirroring this in its own way with some scrappy ensemble. The large leaps of the aria proper produced unfocussed low notes. Things did improve – Fleming hits pitches in her upper register bang in the middle, her trills are text-book and there was even some characterisation in the faux-girlie delivery towards the end. Yet the feeling was that all was not entirely well. Things took a turn for the better, both orchestrally and vocally, in Massenet. The orchestra produced a nicely shaped ‘Le sommeil de Desdemona’ from Suite No. 3 (a nice link to the Verdi Otello excerpt later in the evening), and Fleming proved that the Recitative and Gavotte from Manon is perfect music for her voice. This was immediately apparent, right from the first phrase. Fleming brought a wide range of expression to this section, including some miraculously pure high notes on the crucial line ‘Je suis belle’ and some gorgeous, bell-like staccato passages. Alas some of the words became unclear again, but there was at least the impression of some improvement. Language No. 3 for Richard Strauss’ Capriccio (‘Mondscheinmusik’ and the Countess’ monologue). Immediately there were doubts as to the wisdom of this choice. The orchestra seemed far too small for Strauss’ orchestrational palette (only five cellos that I could see) and did, indeed sound anaemic (including a tonally challenged extended horn solo). Fleming’s German sounded as if from school and overall there was little special here. Perhaps the greatest shame was the lack of any special feeling at the word ‘Tod’ (‘Death’), despite Strauss’ deliberate harmonic shading here. Fleming’s voice remained lovely but detached. The ‘Desdemona’ Scene from Verdi’s Otello after the interval was prefaced by a lacklustre (not entirely together but this time not completely unrehearsed) Sicilian Vespers Overture. The LPO was even better later in Wolf-Ferrari’s Overture to Il segreto di Susanna, which fizzed along nicely. Fleming seemed more at home in the Verdi (from ‘Mi parea’ through the Willow Song and on to the Ave Maria). Words were much clearer, cries of ‘Salce!’ fairly affecting. Yet she could still be four-square (‘Se prima di te morir dovessi/mi seppellisci con un di quei veli’) and she failed to blossom on ‘Cantiamo!’. The highlight of the evening came with ‘O mio babbino caro’ from Puccini’s Gianni Schicchi. Her voice sounded young enough to believe she could have a father who was still alive, and there was a real gentleness about the end. Similarly, ‘Ebben? … Ne andrò lontana’ from Catalani’s La Wally showed more of the Fleming people had presumably come to hear. She did at least sound sad to leave her home while at the same time reaching a decent decibel level – but had she really spent the whole recital saving herself for the last two items? There were encores (naturally, plus a fair few people on their feet – perhaps they needed a stretch). We stayed for two and before we were on our feet, too, homewards – some Cilea (‘Io son lumile ancella’) with a nice sense of line and a Richard Strauss song (‘Caecile’) that found Fleming trying to sound like Schwarzkopf and failing. Infinitely disappointing. Colin Clarke
66 muzsika 2005-06-16 15:23:42
Double Divas: The Americans Do Paris By Daniel Ginsberg,Special to THE WASHINGTON POST, February 5, 2004; The exquisite recital Tuesday evening by soprano Renee Fleming and mezzo-soprano Susan Graham could have been more appropriately titled \"The Art of the Melodie,\" instead of the more general \"The Art of the French Song.\" This was not a run-through of a series of popular chansons, but a highly stylized and sympathetic presentation of the distinctly elegant, rarefied and beautiful French art-song form known as melodie. Gracefully supported by the pianist Steven Blier Fleming and Graham spun a supple, colorful web of sound across the Kennedy Center Concert Hall. Fleming is undoubtedly America\'s most renowned soprano, consistently filling the world\'s opera houses with her golden voice, versatile technique and stunning musicality. The Texas-raised Graham has also achieved world acclaim, and her full-bodied voice has a glimmer and flexibility rarely heard among mezzo-sopranos. The two divas have sung together in many operas, yet never before in concert. The Catherine Reynolds Foundation sponsored this extraordinary recital, part of the Kennedy Center\'s ongoing Festival of France. A recital by either artist alone would have been a sublime affair in itself. And while the program was mostly duets, each soprano did a handful of solos as well. In the first half, Graham slipped into the pastorale lines of several melodies of Jules Massenet. In addition to lovely renderings of \"Crepuscule\" and \"Le nid,\" Graham brought out the subtle nuances of \"Ouvre tes yeux bleus,\" a setting of an evocative Paul Robiquet poem about a man staring at his lover before she awakes. Graham\'s precise yet flowing notes floated like swift-moving clouds. Fleming gave one of the first readings in decades of one of Claude Debussy\'s early songs, \"Les Papillons.\" An aria from Debussy\'s opera \"The Prodigal Son\" was a more dramatic moment, Fleming hinting at her considerable acting skills. But what took the evening to dizzying heights was the mellifluous stream of duets, which captured the melodic invention and harmonic daring of each composer. Here, in Gabriel Faure\'s \"Pavane\" and \"Tarantelle,\" Graham traced graceful arches over which Fleming\'s dexterous voice by turns shadowed, seasoned and clarified. There, in Cesar Franck\'s \"Soleil,\" the two formed a solid bond and immersed themselves in the driving rhythms and leaps over large intervals. The emotional centers of gravity were Ernest Chausson\'s \"La nuit\" and \"Reveil,\" set to poems by Theodore de Banville and Honore de Balzac. Soul-stirring melodies soared over Blier\'s rippling arpeggios. Other songs of Debussy and Saint-Saens were lighter yet no less carefully crafted. Andre Messager\'s \"Blanche-Marie et Marie-Blanche\" was a delightfully comic image of two pretty girls vying for attention. Blier is a self-described glutton for song, and he provided sensitive accompaniment all evening, adding -- by turns -- color, structure and brilliance to round out each glistening musical gem.
Double Divas: The Americans Do Paris By Daniel Ginsberg,Special to THE WASHINGTON POST, February 5, 2004; The exquisite recital Tuesday evening by soprano Renee Fleming and mezzo-soprano Susan Graham could have been more appropriately titled \"The Art of the Melodie,\" instead of the more general \"The Art of the French Song.\" This was not a run-through of a series of popular chansons, but a highly stylized and sympathetic presentation of the distinctly elegant, rarefied and beautiful French art-song form known as melodie. Gracefully supported by the pianist Steven Blier Fleming and Graham spun a supple, colorful web of sound across the Kennedy Center Concert Hall. Fleming is undoubtedly America\'s most renowned soprano, consistently filling the world\'s opera houses with her golden voice, versatile technique and stunning musicality. The Texas-raised Graham has also achieved world acclaim, and her full-bodied voice has a glimmer and flexibility rarely heard among mezzo-sopranos. The two divas have sung together in many operas, yet never before in concert. The Catherine Reynolds Foundation sponsored this extraordinary recital, part of the Kennedy Center\'s ongoing Festival of France. A recital by either artist alone would have been a sublime affair in itself. And while the program was mostly duets, each soprano did a handful of solos as well. In the first half, Graham slipped into the pastorale lines of several melodies of Jules Massenet. In addition to lovely renderings of \"Crepuscule\" and \"Le nid,\" Graham brought out the subtle nuances of \"Ouvre tes yeux bleus,\" a setting of an evocative Paul Robiquet poem about a man staring at his lover before she awakes. Graham\'s precise yet flowing notes floated like swift-moving clouds. Fleming gave one of the first readings in decades of one of Claude Debussy\'s early songs, \"Les Papillons.\" An aria from Debussy\'s opera \"The Prodigal Son\" was a more dramatic moment, Fleming hinting at her considerable acting skills. But what took the evening to dizzying heights was the mellifluous stream of duets, which captured the melodic invention and harmonic daring of each composer. Here, in Gabriel Faure\'s \"Pavane\" and \"Tarantelle,\" Graham traced graceful arches over which Fleming\'s dexterous voice by turns shadowed, seasoned and clarified. There, in Cesar Franck\'s \"Soleil,\" the two formed a solid bond and immersed themselves in the driving rhythms and leaps over large intervals. The emotional centers of gravity were Ernest Chausson\'s \"La nuit\" and \"Reveil,\" set to poems by Theodore de Banville and Honore de Balzac. Soul-stirring melodies soared over Blier\'s rippling arpeggios. Other songs of Debussy and Saint-Saens were lighter yet no less carefully crafted. Andre Messager\'s \"Blanche-Marie et Marie-Blanche\" was a delightfully comic image of two pretty girls vying for attention. Blier is a self-described glutton for song, and he provided sensitive accompaniment all evening, adding -- by turns -- color, structure and brilliance to round out each glistening musical gem.
65 muzsika 2005-06-16 15:20:31
\"Hogy ne unatkozzon senki:\" When the Stars and the Firmament Seem Well Suited by Allan Kozinn, NEW YORK TIMES; February 19, 2004 Four singers from the Metropolitan Opera, all particularly hot at the moment, convened at Carnegie Hall on Tuesday evening for a recital of Schubert songs that invited great expectations and then exceeded them. Nearly everything about it seemed perfectly judged: the program offered an ample selection of favorites but passed over some of the chestnuts in favor of less frequently heard items in Schubert\'s canon of more than 600 songs. The singers — Renée Fleming, the soprano; Anne Sofie von Otter, the mezzo-soprano; Matthew Polenzani, the tenor; and René Pape, the bass — addressed the music not only with a distinct approach to vocal weight and color but also with the kind of emotional flexibility that can make a three-hour recital seem just the right length. The stage was a picture of studied informality, with the singers seated in plush, matching chairs to either side of James Levine\'s piano, taking turns presenting two songs at a time, 32 in all. It was an arrangement clearly meant to suggest the salon concerts at which these songs were first heard, and if the performance had been at Weill Recital Hall, or even Zankel Hall, an illusion of intimacy might have been easy to create. But this was a modern, big-ticket event and drew an audience that was both huge and varied: listeners spotted in the hall ranged from Milton Babbitt to Elvis Costello. It was left to the performers, therefore, to shrink the space between them and their audience. They succeeded to a great if not entirely surprising extent, and quickly. Mr. Pape, whose bass is fully powered but also remarkably supple, opened the program with quietly dramatic, dark-hued accounts of \"Der Wanderer\" and \"Der Einsame,\" and as the program unfolded, he seemed to have staked a claim on Schubert\'s more depressive, world-renouncing settings, that is, some of this composer\'s most soul-searing songs. His reading of \"In der Ferne\" prized introspection over bitterness, and his performances of two songs from \"Winterreise\" — \"Das Wegweiser\" and \"Das Wirtshaus\" — were highlights of the evening for their chilling immediacy. Ms. von Otter was most striking for a technical fluidity that supported some daring interpretive moves: a touch of evocative gliding into phrases of \"Am See,\" for example, and a combination of clipped articulation and freely flowing phrasing in \"Frühlingsglaube.\" Often, though, her appeal was a matter of simplicity and directness, with her radiant performance of \"Im Abendrot\" and her acidic rendering of \"Der Zwerg\" as the most irresistible examples. A deceptive simplicity was a salient feature of Ms. Fleming\'s singing as well. It takes a refined virtuosity to make these songs sound so easy to sing, particularly with the emotional range that Ms. Fleming brought to them. She built \"Gretchen am Spinnrade,\" for instance, to a peak of almost manic energy, but the real power was in the closing repetition of the first verse, which Ms. Fleming sang with a hushed, almost breathless intensity. Much of the time she leaned on the tawny, almost mezzolike sound that is the most attractive side of her voice. But in her final song, \"Rastlose Liebe,\" she used the brighter edge as well, in a dramatic, painterly way. Mr. Polenzani is the relative newcomer in this crowd, but he was not outclassed, something he proved in his opening pair, a playful, light-textured \"Fischerweise,\" followed by a heart-rending performance of \"Du Liebst Mich Nicht.\" A driven account of \"Mein!\" and a brisk, lively reading of \"Der Musensohn\" in the second half of the program extended the impression. Schubert\'s songs have a lot of piano music in them, and it ranges from the picturesque to the more soulfully direct. Mr. Levine, deferring to the singers, touched on these qualities only fleetingly. Keeping out of a singer\'s way is generally a good rule for an accompanist, but there\'s no need to slip into near invisibility, particularly in this music.
\"Hogy ne unatkozzon senki:\" When the Stars and the Firmament Seem Well Suited by Allan Kozinn, NEW YORK TIMES; February 19, 2004 Four singers from the Metropolitan Opera, all particularly hot at the moment, convened at Carnegie Hall on Tuesday evening for a recital of Schubert songs that invited great expectations and then exceeded them. Nearly everything about it seemed perfectly judged: the program offered an ample selection of favorites but passed over some of the chestnuts in favor of less frequently heard items in Schubert\'s canon of more than 600 songs. The singers — Renée Fleming, the soprano; Anne Sofie von Otter, the mezzo-soprano; Matthew Polenzani, the tenor; and René Pape, the bass — addressed the music not only with a distinct approach to vocal weight and color but also with the kind of emotional flexibility that can make a three-hour recital seem just the right length. The stage was a picture of studied informality, with the singers seated in plush, matching chairs to either side of James Levine\'s piano, taking turns presenting two songs at a time, 32 in all. It was an arrangement clearly meant to suggest the salon concerts at which these songs were first heard, and if the performance had been at Weill Recital Hall, or even Zankel Hall, an illusion of intimacy might have been easy to create. But this was a modern, big-ticket event and drew an audience that was both huge and varied: listeners spotted in the hall ranged from Milton Babbitt to Elvis Costello. It was left to the performers, therefore, to shrink the space between them and their audience. They succeeded to a great if not entirely surprising extent, and quickly. Mr. Pape, whose bass is fully powered but also remarkably supple, opened the program with quietly dramatic, dark-hued accounts of \"Der Wanderer\" and \"Der Einsame,\" and as the program unfolded, he seemed to have staked a claim on Schubert\'s more depressive, world-renouncing settings, that is, some of this composer\'s most soul-searing songs. His reading of \"In der Ferne\" prized introspection over bitterness, and his performances of two songs from \"Winterreise\" — \"Das Wegweiser\" and \"Das Wirtshaus\" — were highlights of the evening for their chilling immediacy. Ms. von Otter was most striking for a technical fluidity that supported some daring interpretive moves: a touch of evocative gliding into phrases of \"Am See,\" for example, and a combination of clipped articulation and freely flowing phrasing in \"Frühlingsglaube.\" Often, though, her appeal was a matter of simplicity and directness, with her radiant performance of \"Im Abendrot\" and her acidic rendering of \"Der Zwerg\" as the most irresistible examples. A deceptive simplicity was a salient feature of Ms. Fleming\'s singing as well. It takes a refined virtuosity to make these songs sound so easy to sing, particularly with the emotional range that Ms. Fleming brought to them. She built \"Gretchen am Spinnrade,\" for instance, to a peak of almost manic energy, but the real power was in the closing repetition of the first verse, which Ms. Fleming sang with a hushed, almost breathless intensity. Much of the time she leaned on the tawny, almost mezzolike sound that is the most attractive side of her voice. But in her final song, \"Rastlose Liebe,\" she used the brighter edge as well, in a dramatic, painterly way. Mr. Polenzani is the relative newcomer in this crowd, but he was not outclassed, something he proved in his opening pair, a playful, light-textured \"Fischerweise,\" followed by a heart-rending performance of \"Du Liebst Mich Nicht.\" A driven account of \"Mein!\" and a brisk, lively reading of \"Der Musensohn\" in the second half of the program extended the impression. Schubert\'s songs have a lot of piano music in them, and it ranges from the picturesque to the more soulfully direct. Mr. Levine, deferring to the singers, touched on these qualities only fleetingly. Keeping out of a singer\'s way is generally a good rule for an accompanist, but there\'s no need to slip into near invisibility, particularly in this music.
64 muzsika 2005-06-16 15:09:26
Nesztek, itt van még egy cikk. Dokument: Reviews Aktualisiert: 06.10.2003 11:54:59 Pressespiegel: Renee Fleming Triumphs Opening Met Season By THE ASSOCIATED PRESS, September 30, 2003 NEW YORK (AP) -- Five years ago, Renee Fleming disappointed her admirers when she withdrew from the Metropolitan Opera\'s new production of Verdi\'s ``La Traviata,\'\' saying she needed more time to master one of the most challenging soprano roles in the repertory. Some things are worth waiting for. On Monday night, Fleming scored a triumph opening the Met season in that same production, her voice as opulent as the lavish Franco Zeffirelli sets that depict the lifestyle of the 19th century Parisian rich. The role of Violetta, the courtesan who finds true love, sacrifices it, and then dies of consumption, demands rare vocal and dramatic resources from any soprano who would make it her own. Act I, with the famous aria ``Sempre libera,\'\' requires coloratura agility and pinpoint precision above high C. The music in the second and third acts is not as taxing, but it calls for subtle vocal shadings as Violetta gives way to infirmity and despair. Fleming was dazzling in the coloratura, singing with an amplitude and ease perhaps unheard in the role since the heyday of Joan Sutherland. But that was more or less to be expected. [...] Less certain was how affecting she would prove in scenes like the confrontation with Giorgio Germont [...] Fleming moved gradually and with superb artistry from outraged dignity to heartbroken acceptance, creating tremendous pathos with a subdued vocal line in her solo, ``Dite alla giovine.\'\' Baritone Dmitri Hvorostovsky, as the elder Germont, was a worthy partner for her in this great scene. Again and again, Fleming used her distinctively creamy timbre to wonderful effect. There was little of the mannered, swooping attack for which she has been criticized in the past, though traces of it surfaced in the second verse of her third-act aria, ``Addio del passato.\'\' It didn\'t hurt the persuasiveness of her portrayal one bit that she looked absolutely gorgeous throughout the evening, whether as the exuberant hostess of Act I or the wraithlike creature of the final scene. As Alfredo, tenor Ramon Vargas sang with elegance and bright tone. Principal guest conductor Valery Gergiev led the Met orchestra in a performance of mostly crystalline clarity, except for some coordination problems between pit and the singers that briefly marred Violetta\'s deathbed scene. Fleming\'s reluctance to have taken on ``La Traviata\'\' before now is understandable. (She actually sang the role for the first time in Houston last spring.) Despite her fame, she has specialized for much of her career in showcases where she has had little competition -- the operas of Mozart or Strauss, or works on the fringes of the repertory, like Dvorak\'s ``Rusalka.\'\' Now she has staked her reputation on one of the most daunting of roles in one of the most popular operas ever written, putting herself up against memories of such legendary singers as Rosa Ponselle, Licia Albanese and, above all, Maria Callas. It\'s a gamble that has paid off, for her and her audiences. [...] As gossip columnist Liz Smith wrote in Monday\'s New York Post: ``Renee has made this the hottest ticket in town. It\'s like the good old days when opera stars electrified public imagination.\'\'
Nesztek, itt van még egy cikk. Dokument: Reviews Aktualisiert: 06.10.2003 11:54:59 Pressespiegel: Renee Fleming Triumphs Opening Met Season By THE ASSOCIATED PRESS, September 30, 2003 NEW YORK (AP) -- Five years ago, Renee Fleming disappointed her admirers when she withdrew from the Metropolitan Opera\'s new production of Verdi\'s ``La Traviata,\'\' saying she needed more time to master one of the most challenging soprano roles in the repertory. Some things are worth waiting for. On Monday night, Fleming scored a triumph opening the Met season in that same production, her voice as opulent as the lavish Franco Zeffirelli sets that depict the lifestyle of the 19th century Parisian rich. The role of Violetta, the courtesan who finds true love, sacrifices it, and then dies of consumption, demands rare vocal and dramatic resources from any soprano who would make it her own. Act I, with the famous aria ``Sempre libera,\'\' requires coloratura agility and pinpoint precision above high C. The music in the second and third acts is not as taxing, but it calls for subtle vocal shadings as Violetta gives way to infirmity and despair. Fleming was dazzling in the coloratura, singing with an amplitude and ease perhaps unheard in the role since the heyday of Joan Sutherland. But that was more or less to be expected. [...] Less certain was how affecting she would prove in scenes like the confrontation with Giorgio Germont [...] Fleming moved gradually and with superb artistry from outraged dignity to heartbroken acceptance, creating tremendous pathos with a subdued vocal line in her solo, ``Dite alla giovine.\'\' Baritone Dmitri Hvorostovsky, as the elder Germont, was a worthy partner for her in this great scene. Again and again, Fleming used her distinctively creamy timbre to wonderful effect. There was little of the mannered, swooping attack for which she has been criticized in the past, though traces of it surfaced in the second verse of her third-act aria, ``Addio del passato.\'\' It didn\'t hurt the persuasiveness of her portrayal one bit that she looked absolutely gorgeous throughout the evening, whether as the exuberant hostess of Act I or the wraithlike creature of the final scene. As Alfredo, tenor Ramon Vargas sang with elegance and bright tone. Principal guest conductor Valery Gergiev led the Met orchestra in a performance of mostly crystalline clarity, except for some coordination problems between pit and the singers that briefly marred Violetta\'s deathbed scene. Fleming\'s reluctance to have taken on ``La Traviata\'\' before now is understandable. (She actually sang the role for the first time in Houston last spring.) Despite her fame, she has specialized for much of her career in showcases where she has had little competition -- the operas of Mozart or Strauss, or works on the fringes of the repertory, like Dvorak\'s ``Rusalka.\'\' Now she has staked her reputation on one of the most daunting of roles in one of the most popular operas ever written, putting herself up against memories of such legendary singers as Rosa Ponselle, Licia Albanese and, above all, Maria Callas. It\'s a gamble that has paid off, for her and her audiences. [...] As gossip columnist Liz Smith wrote in Monday\'s New York Post: ``Renee has made this the hottest ticket in town. It\'s like the good old days when opera stars electrified public imagination.\'\'
63 muzsika 2005-06-16 15:02:13
Sziasztok, találtam egy cikket a neten, aki angolos, az biztos hasznát veszi. Pressespiegel: Fleming Takes the Microphone – Konzert in der Carnegie Hall By THE ASSOCIATED PRESS, December 12, 2003 Renee Fleming´s latest concert program sure was different. ``Giving a soprano the possibility of speech is a little dangerous,´´ she said during her performance with the Orchestra of St. Luke´s at Carnegie Hall on Thursday night. Noted for her interpretations of Strauss and Mozart -- and lately, Violetta in Verdi´s ``La Traviata´´ -- Fleming took up a microphone for the concert´s final stages. She put aside the Puccini and turned to show tunes, choosing to use amplification and talking to the audience between numbers. ``I just don´t want you to worry,´´ she said after the first encore. ``I´m keeping my day job.´´ It was the kind of performance fans love and detractors hate. Fleming´s soprano is unmatched for its creaminess and her ability to sustain notes in the upper register. And given the freedom of a concert, she was able to show off, perhaps too much for the taste of some, singing with exaggerated portamento (note sliding) and filling her face with emotion. She was far more successful with the show tunes than in the past, when she sang them unamplified and tended to overwhelm the words with operatic breath and diction. Fleming started off with Cole Porter´s ``So in Love´´ from ``Kiss Me, Kate,´´ went on to ``Moonfall´´ from Rupert Holmes´ ``The Mystery of Edwin Drood´´ and ``You´ll Never Walk Alone´´ from Rogers and Hammerstein´s ``Carousel.´´ Wearing a black floor-length gown with peach lining in the capelike train, she bended the tunes to suit her like a veteran lounge singer, dropping in jazz sounds at times. The encores included ``I Could Have Danced All Night´´ from Lerner and Loewe´s ``My Fair Lady´´ and Harold Arlen´s ``Over the Rainbow,´´ and she closed with an amplified version of ``Io son l´umile ancella (I am the humble handmaid),´´ the entrance aria from Cilea´s ``Adriana Lecouvreur.´´ The earlier part of the program had the 44-year-old New Yorker revisiting some of her chestnuts: Fiordiligi´s ``Como scoglio (Like a Rock)´´ from Mozart´s ``Cosi fan tutte,´´ ``Adieu, notre petite table (Farewell, our little table)´´ and ``Obleissons quand leur (Let us obey)´´ from Massenet´s ``Manon,´´ and Strauss´ ``Morgen´´ and ``Caecile.´´ Her voice was showcased best as Lauretta in ``O mio babbino caro (Oh, dear daddy)´´ from Puccini´s ``Gianni Schicchi´´ and ``Ebben, ne andro lontano (Well? I will go far away)´´ from Catalani´s ``La Wally.´´ Patrick Summers, music director of the Houston Grand Opera, made his Carnegie Hall debut and accommodated Fleming´s tempi choices. He brought out an energetic sound from the orchestra during overtures that were interspersed.
Sziasztok, találtam egy cikket a neten, aki angolos, az biztos hasznát veszi. Pressespiegel: Fleming Takes the Microphone – Konzert in der Carnegie Hall By THE ASSOCIATED PRESS, December 12, 2003 Renee Fleming´s latest concert program sure was different. ``Giving a soprano the possibility of speech is a little dangerous,´´ she said during her performance with the Orchestra of St. Luke´s at Carnegie Hall on Thursday night. Noted for her interpretations of Strauss and Mozart -- and lately, Violetta in Verdi´s ``La Traviata´´ -- Fleming took up a microphone for the concert´s final stages. She put aside the Puccini and turned to show tunes, choosing to use amplification and talking to the audience between numbers. ``I just don´t want you to worry,´´ she said after the first encore. ``I´m keeping my day job.´´ It was the kind of performance fans love and detractors hate. Fleming´s soprano is unmatched for its creaminess and her ability to sustain notes in the upper register. And given the freedom of a concert, she was able to show off, perhaps too much for the taste of some, singing with exaggerated portamento (note sliding) and filling her face with emotion. She was far more successful with the show tunes than in the past, when she sang them unamplified and tended to overwhelm the words with operatic breath and diction. Fleming started off with Cole Porter´s ``So in Love´´ from ``Kiss Me, Kate,´´ went on to ``Moonfall´´ from Rupert Holmes´ ``The Mystery of Edwin Drood´´ and ``You´ll Never Walk Alone´´ from Rogers and Hammerstein´s ``Carousel.´´ Wearing a black floor-length gown with peach lining in the capelike train, she bended the tunes to suit her like a veteran lounge singer, dropping in jazz sounds at times. The encores included ``I Could Have Danced All Night´´ from Lerner and Loewe´s ``My Fair Lady´´ and Harold Arlen´s ``Over the Rainbow,´´ and she closed with an amplified version of ``Io son l´umile ancella (I am the humble handmaid),´´ the entrance aria from Cilea´s ``Adriana Lecouvreur.´´ The earlier part of the program had the 44-year-old New Yorker revisiting some of her chestnuts: Fiordiligi´s ``Como scoglio (Like a Rock)´´ from Mozart´s ``Cosi fan tutte,´´ ``Adieu, notre petite table (Farewell, our little table)´´ and ``Obleissons quand leur (Let us obey)´´ from Massenet´s ``Manon,´´ and Strauss´ ``Morgen´´ and ``Caecile.´´ Her voice was showcased best as Lauretta in ``O mio babbino caro (Oh, dear daddy)´´ from Puccini´s ``Gianni Schicchi´´ and ``Ebben, ne andro lontano (Well? I will go far away)´´ from Catalani´s ``La Wally.´´ Patrick Summers, music director of the Houston Grand Opera, made his Carnegie Hall debut and accommodated Fleming´s tempi choices. He brought out an energetic sound from the orchestra during overtures that were interspersed.
62 muzsika 2005-06-16 14:26:28 [Válasz erre: 61 muzsika 2005-06-16 13:21:06]
Frushena, itt van a fordítás, igyekeztem korrekt lefordítani, egy két szó, mint pl. a hochtourig, break ... egy kis fejtörést okozott, de a szöveg-környezetből kikövetkezetve azért sikerült megtalálnom a magyar kifejezést. Egy szó mint száz: Nagy félrefordítás tuti nincs benne. Fogadjátok szeretettel: Azután jött a Break, ahogy az amerikai hölgy nevezi: az ő nemzetközi áttörése! Ez Desdemona szerepében valósult meg, Verdi Otello-jában, Placido Domingo oldalán a Met-ben. Több mint öt évvel ezelött. Azóta egyre feljebb megy a „hanglétrán”: Grófnő itt, Marschallin ott, Arabella Münchenben, Éva Bayreuth-ban, Manon Párizsban, azután Lulu lemezfelvétel, majd Blanche du Bois szerepe André Previn ősbemutatójában, az „Endstation Sehnsucht”-ban. Salzburgban Schubert dalestek és Strauss „Négy utolsó éneke” Kielben. És így tovább, és így tovább: Egy végtelen nélküli szalag! A pulpituson sorban állnak az A osztályú karmesteri pálca-királyok, ha az amerikai hölgy énekel: Daniel Barenboim, Christoph Eschenbach, Sir Charles Mackerras vagy Lorin Maazel nagyon szeretnek vele együttdolgozni. Ez egy hatalmas nagy bók. És az ő titka? Próbáljuk meg egy merész képpel megmagyarázni. Ha egy autóval hasonlítanánk össze, Renée Fleming egy S osztályú Mercedes Coupé lenne: magasra törő és halk, szupergyors de mindig földhöz ragadt (?) , elegáns és mégis sportos. Egy klasszikus, aki modern és biztos, hogy soha nem megy ki a divatból. Ő drága is, de egyben luxust is kínál. És akinek ez nem tetszik, az hallgassa meg, ahogyan a Díva (igenis!) Norma áriáját, a „Casta diva”-t e legújabb CD lemezén énekli. Időtlenül szép és tiszta mágia. Ez az ő titka.
Frushena, itt van a fordítás, igyekeztem korrekt lefordítani, egy két szó, mint pl. a hochtourig, break ... egy kis fejtörést okozott, de a szöveg-környezetből kikövetkezetve azért sikerült megtalálnom a magyar kifejezést. Egy szó mint száz: Nagy félrefordítás tuti nincs benne. Fogadjátok szeretettel: Azután jött a Break, ahogy az amerikai hölgy nevezi: az ő nemzetközi áttörése! Ez Desdemona szerepében valósult meg, Verdi Otello-jában, Placido Domingo oldalán a Met-ben. Több mint öt évvel ezelött. Azóta egyre feljebb megy a „hanglétrán”: Grófnő itt, Marschallin ott, Arabella Münchenben, Éva Bayreuth-ban, Manon Párizsban, azután Lulu lemezfelvétel, majd Blanche du Bois szerepe André Previn ősbemutatójában, az „Endstation Sehnsucht”-ban. Salzburgban Schubert dalestek és Strauss „Négy utolsó éneke” Kielben. És így tovább, és így tovább: Egy végtelen nélküli szalag! A pulpituson sorban állnak az A osztályú karmesteri pálca-királyok, ha az amerikai hölgy énekel: Daniel Barenboim, Christoph Eschenbach, Sir Charles Mackerras vagy Lorin Maazel nagyon szeretnek vele együttdolgozni. Ez egy hatalmas nagy bók. És az ő titka? Próbáljuk meg egy merész képpel megmagyarázni. Ha egy autóval hasonlítanánk össze, Renée Fleming egy S osztályú Mercedes Coupé lenne: magasra törő és halk, szupergyors de mindig földhöz ragadt (?) , elegáns és mégis sportos. Egy klasszikus, aki modern és biztos, hogy soha nem megy ki a divatból. Ő drága is, de egyben luxust is kínál. És akinek ez nem tetszik, az hallgassa meg, ahogyan a Díva (igenis!) Norma áriáját, a „Casta diva”-t e legújabb CD lemezén énekli. Időtlenül szép és tiszta mágia. Ez az ő titka.
61 muzsika 2005-06-16 13:21:06 [Válasz erre: 58 frushena 2005-06-15 08:39:35]
Szia frushena, akkor igyekszem mihamarabb lefordítani ezt a részt. (Nem biztos, hogy ma sikerül, de próbálkozom.) Hajdanán sokat fordítottam németül, de úgy látszik nem vagyok jelenleg gyakorlatban. A német szövegekben is divatba jött a sok angol kifejezés...
Szia frushena, akkor igyekszem mihamarabb lefordítani ezt a részt. (Nem biztos, hogy ma sikerül, de próbálkozom.) Hajdanán sokat fordítottam németül, de úgy látszik nem vagyok jelenleg gyakorlatban. A német szövegekben is divatba jött a sok angol kifejezés...
60 Orfeusz 2005-06-16 09:52:40
Úgy látszik nem csak én voltam elkeseredve a Thais miatt..találtam egy oldalt, ahol Fleming rajongók a világ minden részéről szomorkodnak az elmaradt Thais miatt..
Úgy látszik nem csak én voltam elkeseredve a Thais miatt..találtam egy oldalt, ahol Fleming rajongók a világ minden részéről szomorkodnak az elmaradt Thais miatt..
59 Orfeusz 2005-06-15 17:29:45
[url]http://www.penguinputnam.com/nf/Book/BookDisplay/0,,0_0670033510,00.html?sym=EXC;innervoice[/url] Részlet Inner Voice című könyvéből.
[url]http://www.penguinputnam.com/nf/Book/BookDisplay/0,,0_0670033510,00.html?sym=EXC;innervoice[/url] Részlet Inner Voice című könyvéből.
58 frushena 2005-06-15 08:39:35 [Válasz erre: 57 muzsika 2005-06-15 08:36:33]
Kezdjük lentről felfelé haladva! Az a kevesebb! Ezzel megpróbálkozunk. \"Dann der Break, wie sie es als Amerikanerin nennt:ihr internationaler Durchbruch! Das war in er Rolle der Desdemone in Verdis „Othello” an der Seite von Placido Domingo an der Met. Vor über fünf Jahren. Seitdem geht es wie auf der Tonleiter bergauf: Gräfin hier, Marschallin dort, Arabella in München, Eva in Bayreuth, Manon in Paris, Lulu für die Platte und Blanche du Bois in André Previns Uraufführung von „Endstation Sehnsucht”. Abende mit Schubert-Liedern in Salzburg und Strauss’ „Vier letzte Lieder” in Kiel. Und so weiter und so weiter: eine Endlosschleife! Am Pult stehen die Taktstock-Könige der A-Klasse Schlange, wenn die Amerikanerin anrauscht: Daniel Barenboim, Christoph Eschenbach, Sir Charles Mackerras oder Lorin Maazel lieben es, mit ihr zu arbeiten. Das ist ein grosses Kompliment. Und ihr Geheimnis? Versuchen wir es mit einem gewagten Bild. Mit einem Auto verglichen, wäre Renée Fleming ein Mercedes- Coupé der S-Klasse: Hochtourig und leise, superschnell und doch mit Bodenhaftung, elegant und trotzdem sportlich. Ein Klassiker, der modern ist und sicher nie aus der Mde kommt. Der teuer ist, aber Luxus bietet. Und wem das nicht gefällt, der höre sich an, wie Diva (jawohl!) die Arie der Norma „Casta Diva” auf ihrer neuen CD zelebriert: zum Verweilen schön und pure Magie. Da ist es: ihr Geheimnis.\"
Kezdjük lentről felfelé haladva! Az a kevesebb! Ezzel megpróbálkozunk. \"Dann der Break, wie sie es als Amerikanerin nennt:ihr internationaler Durchbruch! Das war in er Rolle der Desdemone in Verdis „Othello” an der Seite von Placido Domingo an der Met. Vor über fünf Jahren. Seitdem geht es wie auf der Tonleiter bergauf: Gräfin hier, Marschallin dort, Arabella in München, Eva in Bayreuth, Manon in Paris, Lulu für die Platte und Blanche du Bois in André Previns Uraufführung von „Endstation Sehnsucht”. Abende mit Schubert-Liedern in Salzburg und Strauss’ „Vier letzte Lieder” in Kiel. Und so weiter und so weiter: eine Endlosschleife! Am Pult stehen die Taktstock-Könige der A-Klasse Schlange, wenn die Amerikanerin anrauscht: Daniel Barenboim, Christoph Eschenbach, Sir Charles Mackerras oder Lorin Maazel lieben es, mit ihr zu arbeiten. Das ist ein grosses Kompliment. Und ihr Geheimnis? Versuchen wir es mit einem gewagten Bild. Mit einem Auto verglichen, wäre Renée Fleming ein Mercedes- Coupé der S-Klasse: Hochtourig und leise, superschnell und doch mit Bodenhaftung, elegant und trotzdem sportlich. Ein Klassiker, der modern ist und sicher nie aus der Mde kommt. Der teuer ist, aber Luxus bietet. Und wem das nicht gefällt, der höre sich an, wie Diva (jawohl!) die Arie der Norma „Casta Diva” auf ihrer neuen CD zelebriert: zum Verweilen schön und pure Magie. Da ist es: ihr Geheimnis.\"
57 muzsika 2005-06-15 08:36:33 [Válasz erre: 56 frushena 2005-06-15 08:32:42]
Beosszuk akkor bekezdésenként, vagy hogy legyen?
Beosszuk akkor bekezdésenként, vagy hogy legyen?
