Word: flemingã
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Dates: during 2001-2001
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...Fleming??s five encores comprised a concert in themselves, beginning with Marietta’s aria from Korngold’s “Die töte Stadt.” In the aria, which Fleming said has been, “much with her in recent weeks,” Marietta sings about the beauty of the sunset and the sadness of a love that has been lost, reminding the listener that, “love will not part us, we will meet again.” Fleming??s selection was poignant...
...enthuasism of her audience. The fifth, and sadly final, encore—Strauss’ “Morgen”—sent the audience home in what Fleming termed a “contemplative mood,” firmly convinced of both the purity of Fleming??s voice and her irrepressible sprit...
...Ruhe, Meine Seele,” in which she moved from anger to wounded vulnerablity without losing the richness of her voice. “Schlkechtes Wetter” was a much lighter, playful piece which gave teasing glimpses of the true power of Fleming??s voice. After a calm “Lelse Lieder,” Fleming gave her voice full reign in “Cacilie,” holding an extraordinary final note...
Fleming concluded the scheduled concert with six works by Rachmaninoff; the composer whose works have made her well-known. “Son” displayed the fullness and richness of Fleming??s voice, while the flirty “Rechnaya Liliya,” a song about a water lily, showed a penchant for whimsy. “Ne poy, Krasavita” and “Eti Letniye Nochi” were both impassioned reflections about the pain of grief, which Fleming delivered with remarkable gravity and poise...
...After Fleming??s last song, the applause began, and she appeared for her first encore. And then, the concert really began...