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CD34,99 €

Klassik - Erschienen am 3. September 2012 | Decca Music Group Ltd.

Booklet Auszeichnungen 5 de Diapason - 4 étoiles Classica
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CD34,99 €

Klassik - Erschienen am 1. Januar 1998 | Decca Music Group Ltd.

Auszeichnungen Gramophone Record of the Year
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CD34,99 €

Klassik - Erschienen am 27. Februar 1996 | Decca Music Group Ltd.

Auszeichnungen Qobuz' Schallplattensammlung
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HI-RES21,49 €
CD14,99 €

Musical - Erschienen am 7. September 2018 | Decca Music Group Ltd.

Hi-Res Auszeichnungen 5 de Diapason
Wir müssen gestehen, dem französischen Publikum – und den französischen Bühnen – ist das Repertoire des Broadway und seiner Musicals wenig vertraut. Und wenn dennoch das eine oder andere Werk (etwa The Sound of Music) den Weg ins das eine oder andere Theater findet, so ist dies eher eine Seltenheit. Wir müssen uns daher auf Renée Flemings Weltruf verlassen, um uns von diesem Album mit einigen auf dieser Seite des Atlantik bekannten (Jerome Kern, Richard Rogers, Andrew Lloyd-Webber oder Stephen Sondheim) und vielen anderen uns – zu Recht oder zu Unrecht – völlig unbekannten Komponisten verführen zu lassen. Die Orchesterarrangements erinnern stark an die Musicalverfilmungen der großen Hollywood-Ära: eine bewusste und ausgezeichnete Auswahl. Mit dem bekannten samtigen Timbre und der absoluten Schönheit ihrer Stimme nimmt Fleming manchmal einen jazzigen Ton an, der ihre Anhänger überraschen wird. Aber wer wagt, gewinnt. Dieses Album (an der Grenze des "klassischen" Repertoires) ist hervorragend realisiert, insbesondere vom BBC Concert Orchestra, das keiner weiteren Vorstellung bedarf. © SM/Qobuz
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CD14,99 €

Klassik - Erschienen am 14. Oktober 2013 | Decca Music Group Ltd.

Hi-Res Booklet Auszeichnungen Hi-Res Audio
The "guilty pleasures" referred to in the title of this release by American soprano Renée Fleming are Fleming's own; they are small pieces that she has always wanted to record. Of course they require no apology at all. Even the familiar numbers, such as the Flower Duet from Délibes' Lakmé (track 9, performed with Susan Graham), have the kind of freshness that seems impossible if you consider that Fleming has been singing them for decades. Actually some of the music is quite unusual for an orchestral-song-and-aria collection of this kind. Fleming sings in eight languages, including Occitan, and she has both the panache and the prestige to include such items as John Corigliano's "Once there was a golden bird," from The Ghosts of Versailles, and "Vendulka's Lullaby" from Smetana's rarely heard opera The Kiss. Fleming was 53 when this album was recorded, but it is mighty hard to identify any of the vocal maladies that begin to afflict sopranos of that age. Sample the chilling, silvery finale of Undine's aria from Tchaikovsky's early opera Undine, itself not terribly frequently performed, for confirmation. It is not only the creamy tones but the sense of fun and accomplishment that makes Fleming such a joy to listen to, and these qualities are on fully display here, ably encouraged by the Philharmonia Orchestra under Sebastian Lang-Lessing. © TiVo
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CD14,99 €

Klassik - Erschienen am 6. Januar 2017 | Decca Music Group Ltd.

Hi-Res Booklet Auszeichnungen 5 Sterne Fono Forum Klassik
Nach Knoxville von Samuel Barber, der eher dazu fungierte, einen Anker in die Tradition zu setzen, präsentiert Renée Fleming ein eher ungewöhnliches Repertoire. Der schwedische Komponist Anders Hillborg (*1954) wurde bereits von den Berliner Philharmonikern, Los Angeles Philharmonic, von New York, dem Chicago Orchestra, Tonhalle Zürich interpretiert. Sein Zyklus The Strand Settings war eine Uraufführung von 2013, der gewissermaßen ein Auftrag und Vorschlag Renée Flemings gewesen ist - ein orchestraler Regenbogen mit den Farben von Strauss, Britten, Ligeti, Penderecki, Messiaen und dabei auf Entdeckungsreise der eigenen verblüffenden Schönheit. Wenn man als Hörer ein ganz neues nordeuropäisches Repertoire kennenlernen möchte, das nicht unbedingt der atonalen oder seriellen Avant-Garde unterworfen ist, so wird man schnell sein Ideal in Hillborg finden. Um das Album zu beenden, hat Fleming einige für das Symphonieorchester komplett transkribierte Titel des Popstars Björk ausgewählt, die eigentlich Björk Guðmundsdóttir heißt (aber in Island stellt man sich nur mit dem Vornamen vor). René Fleming bewegt sich dabei auf einem stimmlichem Weg zwischen klassischem und Musical-Gesang. Man mag es oder man mag es nicht, aber es ist verdammt gut gemacht und wie dem auch sei, dieses Album ist allein durch das Werk Hillborgs so einzigartig, dass man alles verzeihen würde! © SM/Qobuz 
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CD24,99 €

Klassik - Erschienen am 7. Juli 2000 | Decca Music Group Ltd.

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HI-RES17,49 €
CD12,49 €

Klassik - Erschienen am 1. Februar 1998 | Decca Music Group Ltd.

Hi-Res Booklet
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CD14,99 €

Klassik - Erschienen am 1. Januar 2012 | Decca Music Group Ltd.

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CD14,99 €

Klassik - Erschienen am 15. September 2008 | Decca Music Group Ltd.

This is the second time Renée Fleming has recorded Strauss' Four Last Songs, and she gives a serene, luminous performance. One of the glories of her handling of the songs is the variety of vocal colors she brings to them. For instance, "Frühling" begins with a throaty duskiness that gives way to silky gossamer as the poetic imagery lifts from "somber shadows" to "blue skies." The details of Fleming's interpretation are always rooted in a sure sense of the songs' larger musical trajectory. She has performed this work more than any other; besides having a voice and temperament ideally suited to the songs, she brings a career's worth of experience singing them, giving her both interpretive freedom and deeply considered insight. In the program notes, she is quoted as saying, "When I started learning the epic Four Last Songs, it soon became clear to me that, no matter how well the songs were sung, it was the overall pacing of the piece, combined with the quality of the orchestral playing, that really shaped it." She has stellar collaborators in Christian Thielemann and the Münchner Philharmoniker. Thielemann's reading and the orchestra's playing are luxuriant and ecstatic. A small quibble: the songs should have been placed at the end, rather than at the beginning of the album; the radiance of the performance needs to be followed by silence. In the remaining selections, which include excerpts from Ariadne auf Naxos and Die Ägyptische Helena and various songs, Fleming sings with no less vocal beauty, but the music itself, as lovely as much of it is, overall seems anticlimactic following the sublime songs. The warmth of Decca's sound matches that of the performances. The second CD, Signature Roles at the Met Opera, is a reissue of recordings Fleming made for Decca over the years, with a variety of conductors and orchestras. The title is misleading; the fine print reads that these are "the soprano's most acclaimed roles, many performed at the Met." Decca doesn't identify the source of the performances, so it requires some sleuthing to figure out when and under what circumstances the recordings were made. The selection from Thaïs with Yves Abel leading Orchestra National Bordeaux Aquitaine is taken from a complete 2000 performance of the opera; the selections from Eugene Onegin and Rusalka and Otello, with Georg Solti leading the London Symphony Orchestra, are from the 1996 collection Signatures-Great Opera Scenes; and the final scene from Capriccio, with Christoph Eschenbach leading the Vienna Philharmonic Orchestra, is taken from a 1998 album Strauss Heroines. These are in fact some of Fleming's most characteristic roles from the late- and post-Romantic eras, and in each, her velvety voice and emotional and dramatic focus are on superb display. Here, closing the CD with the tender, bittersweet, ambiguous finale to Capriccio is a brilliant artistic decision. This collection should be of interest to any Fleming fan who doesn't already have the previous releases of these performances, and it makes a terrific introduction for anyone who wants to get to know her work. © TiVo
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CD14,99 €

Klassik - Erschienen am 14. Juni 2019 | Decca Music Group Ltd.

Hi-Res Booklet
Ein Spagat. Im vergangenen Herbst widmete sich Renée Fleming unter der Führung des BBC Concert Orchestra und der Leitung von Rob Fisher dem Broadway-Musical und stellte Kompositionen von Jerome Kern, Richard Rogers, Andrew Lloyd Webber, Stephen Sondheim und einigen anderen Unbekannteren zusammen. Etwas überraschend, aber sehr willkommen. Mit diesem neuen Opus kehrt die amerikanische Sopranistin zu einem traditionelleren Repertoire zurück und bietet uns eine sehr schöne Auswahl an Brahms-Liedern, den gesamten Zyklus Frauenliebe und -leben Op. 42 von Schumann und schließlich Mahlers Rückert-Lieder in ihrer Orchesterfassung mit den Münchner Philharmonikern unter der Leitung von Christian Thielemann. Renée Fleming besitzt heute ein Timbre von herbstlicher Reife, das zu all diesen melancholisch gefärbten Liedern passt. Hartmut Hölls Begleitung ist wunderschön (besonders bei Brahms), und Thielemanns Leitung oft poetisch. © Qobuz
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CD8,49 €

Klassik - Erschienen am 1. Januar 2008 | Decca Music Group Ltd.

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CD14,99 €

Klassik - Erschienen am 1. Januar 2000 | Decca Music Group Ltd.

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CD14,99 €

Klassik - Erschienen am 1. Januar 2004 | Decca Music Group Ltd.

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HI-RES21,49 €
CD14,99 €

Lounge - Erschienen am 17. November 2014 | Decca Music Group Ltd.

Hi-Res Booklet
As a genre, holiday music has an entirely different alignment than most, being song- and theme-driven, and any approach, from pop, rock, country, blues, and jazz to new age and classical, will work. And since it is also seasonal, and therefore shared by all, it's the ultimate crossover genre, a kind of jointly shared catalog of songs full of ready-made motifs and themes, and in the case of Christmas music, a unified hope for joy and peace on earth. What soprano Renée Fleming has done with the David Frost-produced Christmas in New York, her first holiday album, is add place to the mix. Conjuring moments of a wintery carriage ride through Central Park, twinkling lights, and bright fallen snow on 5th Avenue, Rockefeller Center aglow, and chestnuts roasting on every corner, Fleming's first Christmas album, although tracked in the studio, flows and unfolds like a limited-run seasonal Broadway stage tribute to the city, complete with a host of guests like Kelli O'Hara, Rufus Wainwright, Gregory Porter, Brad Mehldau, and Wynton Marsalis. There's a gentle, jazzy, folky crossover pop feel to things, with Fleming's beautiful voice showing endless little stylistic variations from track to track, from the opening "Winter Wonderland," which features Marsalis-led horns, through the country-folk-tinged "Silver Bells" (a duet with O'Hara), and then closing things out in a nice story arc with the Christmas lullaby "Still, Still, Still," a duet with Kurt Elling. The curveball here, and one of the best tracks, is a gorgeous and hushed version of Sandy Denny's "Who Knows Where the Time Goes" (featuring Mehldau), which shows just how versatile this timeless song (which one would not, at first, think of as a Christmas song) is, and in Fleming's hands, it sums up the rush and glow, hurry and flow and emotional pull of a Christmas season in New York City. Look for this set to become a seasonal favorite. © Steve Leggett /TiVo
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CD13,99 €

Klassik - Erschienen am 1. Januar 2005 | Deutsche Grammophon GmbH, Hamburg

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CD13,99 €

Klassik - Erschienen am 1. Januar 2000 | Decca Music Group Ltd.

The voice of Renée Fleming is one of the most beautiful in opera. Her wide range of roles, from Handel's Alcina to her appearance in Previn's A Streetcar named Desire, display a breadth of interest in and curiosity about the byways of opera. This recital covers some of the greatest soprano arias from Bellini to Puccini. All have been recorded many times, and most listeners will have a favorite version as a touchstone performance. As lovely one may find much of the singing, it is possible to be troubled by this disc. Perhaps in an effort to avoid the criticism of blandness often applied to Kiri Te Kanawa, Fleming has gone too far in trying to inflect every word with deep meaning. The tempo and phrasing are played-with so much that at times you may be reminded of Elisabeth Schwarzkopf, although Fleming never goes to her extremes. There are times when just allowing the music to makes its point is enough. The recitative preceding Nedda's "Bird song" in I Pagliacci is simply too weighty for the character. Unfortunately the recitative to the Adriana Lecouvreur aria is omitted -- and that would be the place for such an approach. "Casta diva" needs to have its cabaletta to fulfill the form of the piece. The French arias are the best items, and it is good to have a recording of the "Bolero" from Verdi's Les Vèpres siciliennes in the original French. Fleming's high E at the end is fine, but Mackerras should have utilized the traditional concert ending; the coda is too long for recital purposes. Nitpicking aside, there is fine singing on this disc -- but its approach is too intellectual for the content. © TiVo
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CD13,99 €

Klassik - Erschienen am 1. Januar 2001 | Decca Music Group Ltd.

Ab
CD14,99 €

Klassik - Erschienen am 15. September 2008 | Decca Music Group Ltd.

This is the second time Renée Fleming has recorded Strauss' Four Last Songs, and she gives a serene, luminous performance. One of the glories of her handling of the songs is the variety of vocal colors she brings to them. For instance, "Frühling" begins with a throaty duskiness that gives way to silky gossamer as the poetic imagery lifts from "somber shadows" to "blue skies." The details of Fleming's interpretation are always rooted in a sure sense of the songs' larger musical trajectory. She has performed this work more than any other; besides having a voice and temperament ideally suited to the songs, she brings a career's worth of experience singing them, giving her both interpretive freedom and deeply considered insight. In the program notes, she is quoted as saying, "When I started learning the epic Four Last Songs, it soon became clear to me that, no matter how well the songs were sung, it was the overall pacing of the piece, combined with the quality of the orchestral playing, that really shaped it." She has stellar collaborators in Christian Thielemann and the Münchner Philharmoniker. Thielemann's reading and the orchestra's playing are luxuriant and ecstatic. A small quibble: the songs should have been placed at the end, rather than at the beginning of the album; the radiance of the performance needs to be followed by silence. In the remaining selections, which include excerpts from Ariadne auf Naxos and Die Ägyptische Helena and various songs, Fleming sings with no less vocal beauty, but the music itself, as lovely as much of it is, overall seems anticlimactic following the sublime songs. The warmth of Decca's sound matches that of the performances. The second CD, Signature Roles at the Met Opera, is a reissue of recordings Fleming made for Decca over the years, with a variety of conductors and orchestras. The title is misleading; the fine print reads that these are "the soprano's most acclaimed roles, many performed at the Met." Decca doesn't identify the source of the performances, so it requires some sleuthing to figure out when and under what circumstances the recordings were made. The selection from Thaïs with Yves Abel leading Orchestra National Bordeaux Aquitaine is taken from a complete 2000 performance of the opera; the selections from Eugene Onegin and Rusalka and Otello, with Georg Solti leading the London Symphony Orchestra, are from the 1996 collection Signatures-Great Opera Scenes; and the final scene from Capriccio, with Christoph Eschenbach leading the Vienna Philharmonic Orchestra, is taken from a 1998 album Strauss Heroines. These are in fact some of Fleming's most characteristic roles from the late- and post-Romantic eras, and in each, her velvety voice and emotional and dramatic focus are on superb display. Here, closing the CD with the tender, bittersweet, ambiguous finale to Capriccio is a brilliant artistic decision. This collection should be of interest to any Fleming fan who doesn't already have the previous releases of these performances, and it makes a terrific introduction for anyone who wants to get to know her work. © TiVo

Der Interpret

Renée Fleming im Magazin