Knock-out soprano Renée Fleming will release her new pop album, Dark Hope, on June 8 in the United States. Already out in Europe, the album represents the underside of Fleming’s newest leaf: popular music.
Her classical credits bud with acclaimed performances in the world’s best opera houses, multiple solo albums, and the moniker of “America’s Favorite Soprano.” None of this, however, receives a mention in the liner notes of her new release. Instead, Fleming wants to earn her alt-rock plaudits with a breathy, alto-range timbre that reflects little of her previous professional exploits. That tone, though antithetical to her pure, operatic upper register, is a tool she carefully crafted to convey an authentic pop feeling. Fleming and her producers have consistently asserted that the album is not a “crossover” but a purebred rock/pop release. The difference, they stress, is that a crossover album is classically styled performances of popular songs. Fleming’s recording is pop covers of pop songs. View Full Article »
Posts Tagged ‘opera’
Soprano Renée Fleming to Release Alt Rock Cover Album
Starts Shopping at Hot Topic
Unfinished Debussy Operas Based On Poe Stories are Premiered
Opera comany Opéra Français de New York, in conjunction with the French Institute Alliance Française, presented two single-act operas that were left unfinished by French composer Claude Debussy. The two works are based on the Edgar Allan Poe stories “The Fall of the House of Usher” and “The Devil in the Belfry.”
According to NY Times writer Anthony Tommasini, the existing music for both operas, incomplete sketches included, was not enough to fill even an hour. So, the program was fleshed out with four songs and a piano prelude. Tommasini says that the show, called “Debussy and Poe,” still captured the dark, macabre exploration that Debussy intended for the works. Of course, listeners were probably unable to avoid the obvious question: what if Debussy had completed them?
For the complete performance review read the NY times here.
British Woman Donates Fortune to the Met, Bird Group
Mona Webster, a British woman living in Edinburgh who passed away at 96 last August, decreed that the majority of her fortune be split between two organizations which represented her greatest interests: the Metropolitan Opera and the Wildfowl and Wetlands Trust.
Webster was born on the Isle of Man in 1913, where her father was a lighthouse keeper. She first discovered her love for birds when she moved to Scotland as a girl, and was later introduced to opera via the Met’s Saturday afternoon broadcasts. The Met’s director of planned and special gifts, Gail Chesler, said that Ms. Webster remembered Saturday broadcasts as far back as 1939.
Webster had been in contact with Met representatives since 2000 when she was invited to New York for an opening night performance following a generous donation. She had attended performances prior to 2000 with opera tour groups however, which established her connection to the organization and prompted her to write the $7.5 million donation into her will. Needless to say, her generosity will not only boost the opera company but also serve to illustrate the boundless audience that art, music, and nature all inspire.
Source: NY Times.
Villazón Returns for 2010 Season
Will Bring Voice With Him
Tenor Rolando Villazón announced on his website that he will return to the stage in 2010, after having to cancel the remainder of his 2009 season in April to treat a cyst on his vocal chords.
Villazón was scheduled to sing at the Met last year, but was forced to cancel due to his surgery. The video on his site is full of excitement and gratitude for supporters, and Villazón tells fans to keep an eye out for his soon-to-be released 2010 schedule.
Warm wishes and good luck to Mr. Villazón for his recovery and return to his art. Source: WQXR.
A Night At The Met: Verdict – They Still Got It
And Renée Flemming is still beautiful
Most news coming from the Metropolitan Opera these days has not been uplifting. From the boos toward director Luc Bondy after Tosca, to the similar signs of vexation shown to maestro Daniele Gatti after Aida, this native New Yorker is a tad worried that we are developing a penchant for being hard impossible to please. Could this reputation possibly prevent performers from coming to New York? Probably not, since New York is “where dreams are made,” after all. However, I’m afraid we may yet become known as a city full of critics—not the art lovers and appreciators we are. Because I had not yet visited my favorite opera house this season, I splurged and purchased tickets for myself and a musician-colleague to Friday night’s performance of Der Rosenkavalier featuring Renée Fleming.
Perhaps it was the mediocre review given by the New York Times on Tuesday’s opening night, the flowing negativity for the other two productions currently at the venue, or the absence of James Levine, but let’s just say that I was hesitant to purchase last-minute-tickets for the sold out show (thanks to allshows.com for the tickets, but damn you for the 200% inflation without even delivering them to will-call). Upon arriving and immediately ordering champagne with the last of my cash, I took my seat.
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The New Yorker: Why So Serious?
Let's Put a Smile on that Face
While concertgoers today might resent those who unknowingly applaud or whisper between movements of a piece, it seems such gaffes have only recently begun to draw frowns. The familiar silent audience who applauds in appropriate places is of relatively new invention. Relative of course to the age of the music which makes up the classical repertoire. As it turns out, classical concerts used to be noisy, social gatherings where aristocrats could mingle and the public could turn bourgeois into a verb.
The September 8th issue of The New Yorker featured the article “Why So Serious?” In it, writer Alex Ross chronicles the history of classical concert tradition.
Ross cites examples from performances at the Paris Opera, and recitals by the pianist credited with creating modern piano performance tradition, Franz Liszt. Ross compares Liszt’s recitals to “The Ed Sullivan Show,” claiming that Liszt would solicit suggestions from the audience for subjects to improvise at the piano. Furthermore, Liszt is said to have modulated not only between tonal centers, but entire pieces. As Ross explains it:
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Not So Warm Welcome for Gatti
New York misses Levine
The beginning of Fall has different meanings for everyone. Some love the changing colors, the cooler temperatures, or as is the case with this writer, the exodus of summer tourism from New York City. All kidding aside, the beginning of the concert season for the country’s major orchestras and opera companies is always an interesting sight. Opening night reviews can truly make or break a career season. The introduction of Gustavo Dudamel with the Los Angeles Philharmonic was met with spectacular reviews, much as Alan Gilbert with the New York Philharmonic.
Unfortunately, not all welcomes are quite so warm… View Full Article »