Sydney Reviews

World renowned American superstar of the operatic stage, Renee Fleming's 'one night only' recital at the Sydney Opera House concert hall on Sunday evening presented a selection of art songs and opera ranging from Ravel and Canteloube to Strauss, Puccini, Gounod and Rodgers and Hammerstein.

Ms. Fleming looked every inch a diva as she took to the stage in a royal blue taffeta gown and commenced the evening with Ravel's Sheherezade, a song cycle conjuring the exoticism of Asia and based on poems by Tristan Klingsor. Fleming sang these intimate and evocative pieces with style and warmth of tone and with Richard Bado at the piano the pair created the mysticism and colours associated with the East. 

Fleming returned to the stage after a short break following the Ravel songs to sing three songs of the Auvergne. These French folk tunes that have made their way into standard soprano repertoire were sung with delicate poise, and Fleming performed Lullaby with the necessary simplicity and lightness of tone required for a lullaby.

The ubiquitous Jewel Song from Faust followed. As a favourite number for sopranos the world over, Ms Fleming's interpretation was charming and her easy stage presence worked well to portray the naivete of the youthful Marguerite. Fleming's voice easily negotiated the sustained trills and upward runs and the audience was well pleased.

Following the interval, Fleming reappeared – much to the pleasure of the lady beside me – in a gorgeous flowing white number studded with diamantes. And after introducing the next piece as coming from one of her favourite roles, she sang Da Geht Er Hin from 'Der Rosenkavalier' by Richard Strauss. This deeply heart felt aria was not a good choice to open the second half of the recital, such a piece needing the context of the opera to work and although the performance was not lacking in any way it seemed out of place amongst the other songs.

Zueignung – also by Strauss – followed directly and this ever popular song managed to please where the previous aria had not.

German repertoire gave way to Italian and Fleming's stylish performance of Mascagni's Non Mi Resta from 'L'amico fritz' was beautifully sung. Tosti's Aprile followed and Fleming demonstrated her love for this song with a caressing tone and perfect Italian.

How wonderful it was to hear Puccini's O Mio Babbino Caro next. Done to death it is true but always a crowd pleaser, this deceptively simple-sounding but tricky aria was the perfect choice for Fleming whose ample and lush voice easily negotiated the inherent difficulties of the aria. The final high A flat that seemed to go on forever was a crowd pleasing vocal stunt that worked a charm.

The greatness of Puccini was followed by Rodgers and Hammerstein and the four songs presented from 'The King And I' seemed rather like poor relatives alongside the other repertoire. Musical tastes aside, Fleming sang the songs perfectly well and Young Lovers was particularly touching. The addition of a microphone for these pieces did seem strange though given that Fleming had more than enough volume to project into the hall.

Two encores were offered, Summertime by Gershwin which seemed a little rushed and lacking in the hazy atmosphere required by this wonderful song, and finally Dvorak's Song to the Moon. Up until this point in the evening, the singing had been really good but it wasn't until Song to the Moon that I finally felt a tingle down my spine and an intense emotional reaction to the music. Ms. Fleming's rendition of this famous aria was outstanding and fitted her lyric soprano voice and musical temperament perfectly.

All in all the evening was enjoyable although not thrilling. The choice of repertoire was mostly pleasing although occasionally disappointing and the singing ranged from very good to breath taking, although I had hoped that it would be breathtaking the whole time. And in spite of the wonderfully supportive playing of pianist Richard Bado, I couldn't help wishing that there had been a full orchestra supporting the singer to provide the tonal colours that only an orchestra can.


RENEE FLEMING

Venue: Sydney Opera House,
Date: August 31, 2015
Bookings: www.ticketmaster.com.au