Renée Fleming - Kudos

Finest performances

International Herald Tribune
"Quite a few of the finest performances I saw this year came courtesy of the newly re-energized Met, where a heightened emphasis on theatrical values is under way. A partial list of the year's highlights, for me, would have to include Karita Mattila's moving "Jenufa," Renée Fleming and Dmitri Hvorostovsky as the fate-bedeviled couple in "Eugene Onegin," and Susan Graham's transfixing turn in "Iphigénie en Tauride."
- Charles Isherwood
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It was a treat to have Renée Fleming back at Symphony Hall

ThePhoenix.com
"It was a treat to have Renée Fleming back at Symphony Hall. She was in her dreamiest, creamiest voice both for four exquisite Duparc songs (including his masterful, seductive setting of Baudelaire’s come-hither "L’invitation au voyage") and for the Dutilleux."

"Dutilleux wrote Le temps l’horloge ("Time [and] the Clock") with Fleming in mind (she sang the world premiere with the Saito Kinen Orchestra under Seiji Ozawa in Japan this past September), and she sang its three poems with increasing flexibility and expressiveness."
- Lloyd Schwartz
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La Traviata, Metropolitan Opera, Nov. 2007

New York Post – Nov 5 2007
Fleming, her voice all lyric cream and coloratura diamonds until it dramatically falters into gallant poignancy, has perhaps never been more touching or so completely convincing - it's not just a performance, it's a portrait of death as a young woman.

The New York Sun – Nov 5 2007
You know what a great Fleming performance is: I don't have to tell you much about it. She had supreme confidence, completely justified. The technique was secure; she could concentrate on the musical and dramatic. Her top notes were free and affecting; and, among sopranos, she has one of the great bottoms (pardon the expression).

The New York Times – Nov 5 2007
Renée Fleming was Violetta in this largely American cast, and she is very much the star… She looks good. The sound is pure and unassailably well tuned. The attention to musical matters includes a near-infinite variety of dotted rhythms, each adjusted to the vowel or consonant at hand.

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