Word: straussã
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Dates: during 2001-2001
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...audience needed no help singing to the melody—who knew that a couple of hundred Bostonians knew the words to Strauss? Fleming gained more and more verve as she went, clearly responding to the 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...
...Minor,” which came next, showed his suberb control, and raised questions as to whether anyone has had the good sense to record his notes per minute and submit the results to the Guiness Book of World Records. Fleming then took the stage once more with Strauss?? “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?...
...Kissin’s hands, the hideously difficult becomes the sublimely simple, even if the material is third-rate fluff. Scriabin’s D-sharp minor Étude (Op. 8, #12) was next (a nod to Horowitz), followed by an arrangement of waltzes from Johann Strauss?? Die Fledermaus—again, breathtakingly impressive. Still, I can’t help but wonder how much more enjoyable it would have been had Kissin challenged us a little more musically. The warhorses and bon-bon encores were nice, but when will Kissin tour with a work...