Word: concertizer
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Paying for a concert to see an encore seems like the height of luxury. And, when listening to soprano Renee Fleming...
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...
...first half of the concert—the planned concert, that is—showcased the pieces that appear in Night Songs, starting with a triad of love songs by the lesser-known Austrian composer Joseph Marx. Radiant in a green Gianfranco Ferre gown, Fleming began with a theatrical interpretation of Marx’s “Nocturne,” and concluded the section with a powerful, expressive “Pierrot Dandy.” Thibaduet’s interpretation of Liszt’s “Ballade No. 2 in B Minor...
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...