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Track Listings
| 1. Oh! Se una volta sola |
| 2. Ah, non credea mirarti |
| 3. Ah, non giunge uman pensiero |
| 4. Abbraciami - Renée Fleming, Kristine Jepson, Orchestra Of St Luke's, Patrick Summers |
| 5. Il più tenero suon d'arpa - Renée Fleming, Kristine Jepson, Orchestra Of St Luke's, Patrick Summers |
| 6. Ah non sai qual prestigio si cela... - Renée Fleming, Kristine Jepson, Orchestra Of St Luke's, Patrick Summers |
| 7. Introduzione - Orchestra Of St Luke's, Patrick Summers |
| 8. Bel raggio lusinghier |
| 9. Dolce pensiero di quell'istante... |
| 10. Introduzione - Melanie Feld, Orchestra Of St Luke's, Patrick Summers |
| 11. Oh, s'io potessi dissipar le nubi - Renée Fleming, Melanie Feld, Orchestra Of St Luke's, Patrick Summers |
| 12. Col sorriso d'innocenza - Renée Fleming, Orchestra Of St Luke's, Patrick Summers |
| 13. Oh! Sole! ti vela di tenebre oscure - Renée Fleming, Melanie Feld, Orchestra Of St Luke's, Patrick Summers |
| 14. D'amor al dolce impero... |
| 15. Gli augei tra fronde e fronde... |
| 16. La fresca età sen fugge... - Renée Fleming, Orchestra Of St Luke's, Patrick Summers |
| 17. Ah! sì, godete... |
| 18. M'odi, ah m'odi, io non imploro... - Renée Fleming, Orchestra Of St Luke's, Patrick Summers |
| 19. Figlio, figlio! Ola, qualcuno! |
| 20. Era desso il figlio mio |
"The ultimate challenge" is how Renée Fleming describes the style of singing explored on her disc Bel Canto, a compilation of six scenes from the masters of bel canto writing, namely Bellini, Donizetti and Rossini. "Ultimate" is by no means an exaggeration and it's a challenge to which the soprano more than rises.
Bel canto requires the singer to pull out all the proverbial stops, both technically and emotionally. The writing is as extraordinary as the characters depicted--a murderous queen whose love for her son is incestuous (Rossini's Semiramide), a sleepwalker (Amina in Bellini's La sonnambula) and a woman who descends into madness (Imogene in Il pirata, also by Bellini).
Fleming expresses every nuance of these incredible yet rarely performed roles with the brilliance we have come to expect from her. She is engaging throughout the wide register--well over two octaves--which is demanded. Her pianos are exquisite, her fortissimos ringing. The coloratura displays are thrilling and her stamina unflagging. She is supported ably throughout by Patrick Summers and the Orchestra of St Luke's who get their justified moment of glory in the gorgeous introduction to the final scene of Bellini's I pirata. --Rebecca Agnew
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