Renée Fleming

Let's start with the repertoire: with the possible exception of Manon's first act arietta and the aria from Verdi's "Simon Boccanegra" every opera fan is likely to have at least four different recordings of the arias on this disc readily at hand. These pieces have been done to death. Why would anyone with the international stature of Renee Fleming wish to record them?

The answer lies simply in artistry. When listening to this recital, one aspect stands out even above the stature of the singer: the sheer artistry of Sir Charles Mackerras and the London Philharmonic. Together they breathe life into the music, far beyond what might be expected. Listen to the incredible detail in Butterfly's famous aria and the music seems almost new. This quality never falters throughout and can indeed be described as phenomenal, as is the quality of the sound recording.

Be that as it may, however, the disc is yet another vehicle for a star singer and Fleming rises to the occasion brilliantly. Unlike her "Beautiful Voice" disc, which was really too much of a vehicle for the title, Fleming here brings something special to every character and begs the question: is there anything this woman cannot do at the moment? Verismo opera has certainly not been her trademark, yet she takes to it as if to the manner born. For me the "Adriana Lecouvreur" aria alone is worth the price of the disc and the rest of the Italian inculsions are not far off. She has the uncanny ability to capture character within a few notes. This is no empty "Fleming sings Fleming" experience - rather it is a collection of characters brought to life by the same artist. The French repertoire is closer to what we know she is singing at the moment. Her "Manon" cries out for a complete recording, although this is unlikely, given the recent issue on EMI with Pappano and the Alagnas. The rendition of Michaela's aria from "Carmen" has to be the most exquisite in living memory and Gounod's Juliette is suitably rendered: not just another display of waltzing coloratura. For the final three tracks Fleming turns to "bel canto", where so many singers are often discovered as "bel cannot". Verdi's "Simon Boccanegra" does not fit exactly into this mould, but Amelia's aria certainly calls for pure "bel canto" singing. Norma's infamous "Casta Diva" is sung masterfully and raises serious questions about a future assumption of this role by Fleming. Why was the cabaletta not recorded, though? As a suitably jaunty finale she sings the famous Bolero from "I Verspri Sicilliani" in its original French guise and includes a perfectly edible top E to round off proceedings. "Brava!" I scream. "More!"

For the devoted fans this disc proves that we are not misguided in our devotion: wonderful things are happening to the Fleming voice, such as the added colours in the middle and bottom range. She also proves that her lyric coloratura abilities are beyond question - where have you heard such wonderful trills recently, apart from Gruberova? Above everything else, though, this recording offers a perfect introduction to the standard soprano repertoire for people who might as yet be unfamiliar with it. You'd have to search far and wide for anything better.