Renée Fleming denies she’s calling time on her opera career, but she charmed in Carousel and has just released a Broadway album. As for taking on another musical theatre role, it’s a case of “stay tuned”.
Renée Fleming and Audra McDonald add sparkle to Michael Tilson Thomas's easy-going opening.
The October 2018 issue of Limelight Magazine is now on sale featuring Daniel Barenboim, Karina Canellakis, Teatro alla Scala Ballet Company, and much more.
The October 2018 issue of Limelight Magazine is now on sale featuring Daniel Barenboim, Karina Canellakis, Teatro alla Scala Ballet Company, and much more.
A celebration of American music, marking Leonard Bernstein's centenary, will air in conjunction with the station's music for Holy Week.
Ahead of her appearances with the SSO, the mezzo talks big girl roles, speaking German, and the pleasures of the recital. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Renée Fleming is no stranger to crossover. America’s favourite soprano has dabbled in rock music (2010’s Dark Hope), jazz (2005’s Haunted Heart), even duetted with Michael Bolton. But, until now, these have remained off-duty projects, separate from her official operatic identity. But in Distant Light she brings two worlds together, combining covers of Björk songs with music by Barber and Anders Hillborg in a recording that might just offer a vision of things to come in the classical music business. This feels like a coherent and convincing recital programme, tipping naturally from Barber’s hazy vision of pre-lapsarian America into Hillborg’s luminous sonic landscapes before casting off the classical anchor and drifting out into Björk’s broad lakes of sound and texture, beautifully reimagined in Hans Ek’s arrangements. Fleming still has one of the loveliest voices in the business, and that blooming tone is celebrated not only in the Barber but in Hillborg’s settings of poems by Mark Strand, former US Poet Laureate, which eschew the composer’s signature massive soundscapes for gentler, more intricate textures (lovingly performed here by Oramo and the Royal Stockholm Philharmonic). If the tone feels more manufactured in the three Björk tracks, it’s not unpleasantly… Continue reading Get…
Steve Davislim's Tito will also be among the highlights to catch the ears of Aussie audiences.
Speculation is rife that the American soprano will farewell the operatic stage following Der Rosenkavalier at the Met.
From Broadway to the Super Bowl, from Rosenkavalier to Rock albums, this soprano is beginning to look like she's done it all.
Even without an orchestra, the People’s Diva came, sang and conquered.
Or do we ever allow ourselves space to let our senses enjoy?
Andrew Upton examines theatre’s endless fascination with Russian master Anton Chekhov. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
