01. Gianni Schicchi, opera O mio babbino caro by Giacomo Puccini
02. La Wally, opera (dramma musicale) in 4 acts Ebben? ... Ne andrò lontana
by Alfredo Catalani
03. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Porgi, amor
by Wolfgang Amadeus Mozart
04. Così fan tutte, opera, K. 588 Come scoglio by Wolfgang Amadeus Mozart
05. Norma, opera Casta diva by Vincenzo Bellini
06. La Traviata, opera È strano ... Ah, fors'è lui ... Sempre libera
by Giuseppe Verdi
07. Madama Butterfly (Madame Butterfly), opera Un bel dì vedremo
by Giacomo Puccini
08. Manon, comic opera in 5 acts Je marche sur tous les chemins ... Obéissons quand leur voix appelle (Gavotte)
by Jules Massenet
09. Rusalka, opera, B. 203 (Op. 114) Mesícku na nebi hlubokém (O silver moon)
by Antonin Dvorak
10. Vocalise, song for voice & piano, Op. 34/14 by Sergey Rachmaninov
11. Cäcilie ("Wenn du es wüsstest"), song for voice & piano (or orchestra), Op. 27/2 (TrV 170/2) by Richard Strauss
12. Die tote Stadt (The Dead City), opera, Op. 12 Glück, das mir vervlieb (Mariettas Lied)
by Erich Wolfgang Korngold
13. Porgy and Bess, opera Summertime by George Gershwin
14. Bachianas Brasileiras No. 5, for voice & piano, A. 390 Aria (Cantilena)
by Heitor Villa-Lobos
15. You'll Never Walk Alone, song (from "Carousel") by Richard Rodgers

Renée Fleming – soprano
Joseph Calleja – tenor
Dave Grusin – piano
Lee Ritenour – guitar
London Voices
New York Voices
English Chamber Orchestra
London Philharmonic Orchestra
London Symphony Orchestra 
Metropolitan Opera Orchestra
Orchestra of St. Luke's
Charles Mackerras – conductor
Georg Solti - conductor
Patrick Summers – conductor
Jeffrey Tate - conductor

This Renée Fleming disc, By Request, is mostly a compilation of previously released material. There are three new tracks, "Ah fors' è lui" from Giuseppe Verdi's La Traviata, the song "Cäcille" by Richard Strauss, and "You'll Never Walk Alone" from Rogers & Hammerstein's musical Carousel. The new recordings all sound fine, and Fleming is outstanding in the re-issued pieces as well. If you have the prior incarnations of these recordings, you may elect to pass on this collection unless you want the three new tracks. However, if you are unfamiliar with the voice of Fleming, By Request will prove an excellent and wholly satisfactory vehicle for getting to know her work. The recording is up to Decca's usual high standards, and the booklet includes several attractive photos of Fleming in addition to complete texts and translations for all of the lyrics sung. --- Uncle Dave Lewis, Rovi

This is a compilation--plus three previously unreleased selections--of some of the glorious Renée Fleming's finest work, 15 selections covering 13 composers. The rose-in-full-bloom quality of the voice is staggeringly beautiful: Her rendition of Rusalka's "Song to the Moon" is justly famous and is, alone, worth the price of this CD. Other highlights are Marietta's Lied from Korngold's Die tote stadt, an odd arrangement of the aria from Villa-Lobos's Bachianas Brasilerias No. 5, Manon's Gavotte, and a knock-down-gorgeous reading of Gershwin's "Summertime." The three new recordings are of Violetta's big first-act scene from La traviata, which features one of the most perfect trills heard since Joan Sutherland, a thrilling Cäcilie (R. Strauss), and a version of "You'll Never Walk Alone" which is so over the-top that it might make you look away in embarrassment. On the basis of this CD, one would have to acknowledge that Fleming is more interested in--and more successful at--pure singing than she is at character delineation (Butterfly sounds oddly like Wally who sounds too much like Norma), but it's not hard to tell why she's a superstar. Her voice and technique are one in a million. --Robert Levine, amazon.com

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1. Endlessly 	
2. No One's Gonna Love You 	
3. Oxygen 	
4. Today 	
5. Intervention 	
6. With Twilight As My Guide 	
7. Mad World 	
8. In Your Eyes 	
9. Stepping Stone 	
10. Soul Meets Body 	
11. Hallelujah

Musicians:
    Renee Fleming - soprano
    Rusty Anderson, Nick Valensi – guitar
    David Kahne – bass, guitar, keyboards
    Will Lee – bass
    Shawn Pelton – drums
    Jesse Mills, Cyrus Beroukhin – violin
    Dov Scheindlin, William Hakim – viola
    Wendy Sutter – cello
    Alexis Pia Gerlach – cello
    Amelia Ross, Sage Ross, Rachelle Fleming – background vocals
    Mike Rossi – conductor

It’s fitting that Renée Fleming, “the people’s diva,” would make an album of pop songs that feels more like a labor of love than a crossover attempt. Dark Hope is filled with songs and arrangements that wouldn’t appear on a typical attempt to bring a classical vocalist into the mainstream -- witness her dark, intricate take on the Mars Volta’s “With Twilight as My Guide.” It should almost go without saying that Fleming's voice is just as remarkable here as it is in her usual milieu, but the album proves time and again that she is game for just about anything. Fleming learned how to sing in the more intimate, confessional style that Dark Hope's singer/songwriter and alternative rock fare requires just for this project; combined with her interpretive gifts, she does a masterful job of remaining true to the spirit of the original songs while offering her own twists on them. Her voice dances over the wordy, syllable-heavy lyrics of Willy Mason's “Oxygen,” brings a mature moodiness to “Stepping Stone” that was lacking in Duffy's spitfire version, and remains connected to the intimacy in the Arcade Fire’s “Intervention” even as the song swells around her. Indeed, Dark Hope's swelling arrangements are as much a weakness as they are a strength: at times, it feels like the album’s producers didn’t trust that her gorgeous voice singing these songs would be enough of a draw. Quite a few tracks have busy instrumentation that detracts from Fleming's singing; others have arrangements that try too hard to be tastefully contemporary, and dilute the songs’ impact. Fleming is divinely torchy on Muse's “Endlessly,” but her trip-hop-tinged surroundings are no match for her rich vocals. Her interpretation of Band of Horses' “No One’s Gonna Love You” is let down by an arrangement that sounds like generic alt-pop -- though, on the other hand, it’s a relief that it doesn’t sound like A String Tribute to Band of Horses. Despite these problems, both of these songs are among Dark Hope's standout tracks, along with the subtly sultry electro-folk turn on Jefferson Airplane’s “Today” and the urgent yet airy reading of Death Cab for Cutie's “Soul Meets Body.” It’s just frustrating that even songs as revered as Leonard Cohen's “Hallelujah” -- which is virtually a standard at this point -- are burdened with anything that takes away from a voice as remarkable as Fleming's singing a melody that powerful. She deserves credit for undertaking such a bold enterprise, but unfortunately Dark Hope's execution lets down the concept. --- Heather Phares, Rovi

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01. Mozart - Porgi, Amor
02. Mozart - Dove Sono
03. Tchaikovsky - Letter Scene (Eugene Onegin)
04. Dvorak- O Silver Moon
05. Verdi - Ave Maria
06. Britten - Embroidery Scene
07. Strauss - Transformation Scene

Renée Fleming – soprano
Larissa Diadkova – mezzo-soprano
Jonathan Summers - baritone
London Symphony Orchestra
Georg Solti - conductor

As the possessor of one of the great lyric soprano voices of our time, soprano Renée Fleming is in demand in the world's great opera houses. (It doesn't hurt that she's also lovely and a fine actress.) This album is an outstanding collection of great arias, ravishingly sung. It shows something of Fleming's range, including as it does music by Mozart, Tchaikovsky, Dvorák (the sumptuous "Song to the Moon" from Rusalka, the best part of the entire opera, and sung here in definitive fashion), Verdi, Britten (an effective "Embroidery Scene" from Peter Grimes), and Richard Strauss. This disc is a good starting point for someone seeking to learn more about operatic singing, and a valuable addition to the library of anyone already converted. Fleming is given strong support by mezzo-soprano Larissa Diadkova, baritone Jonathan Summers, and by the late Sir Georg Solti in one of his last recordings. --Sarah Bryan Miller, amazon.com

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MAURICE RAVEL (1875–1937)
Shéhérazade
01	I Asie 	11:02
02	II La Flûte enchantée 	03:32
03	III L’Indifférent 	04:14

OLIVIER MESSIAEN (1908–1992)
Poèmes pour Mi (with orchestra)
Premier Livre
04	I Action de grâces 	05:58
05 	II Paysage 	02:00
06	III La Maison 	01:55
07	IV Epouvante 	02:53

Deuxième Livre
08	V L’Épouse	03:00
09 	VI Ta voix 	03:15
10 	VII Les Deux Guerriers 	01:40
11	VIII Le Collier 	04:21
12	IX Prière exaucée 	03:11

HENRI DUTILLEUX b.1916
Deux Sonnets de Jean Cassou
13	I II n’y avait que des troncs déchirés 	02:19
14	II J’ai rêvé que je vous portais entre mes bras 	05:30

Le Temps l’horloge*
15	Le Temps l’horloge 	01:43
16	Le Masque 	04:25
17	Le Dernier Poème 	02:06
18	Interlude 	01:20
19	Enivrez-vous 	04:39

Renée Fleming - soprano
Orchestre Philharmonique de Radio France
Alan Gilbert - conductor
Orchestre National de France
Seiji Ozawa – conductor

All singing is a kind of story telling, and René́e Fleming, whose vast repertoire includes many works demonstrating the breadth and richness of the French tradition, is no stranger to the particular skills required of the art. Scheherazade, as she is usually spelt in English, was the teller of the Tales of the Arabian Nights, whose prowess at inventing stories enabled her to survive a Sultan’s cruel decree for 1001 nights— and thereafter, presumably, live happily ever after. In 1888, the Russian composer Rimsky-Korsakov wrote a colourful orchestral suite celebrating her and some of her stories, which Maurice Ravel would certainly have known when, in 1898, he began an opera about her. Nothing seems to survive of that unfinished work apart from the overture, which is entirely separate from the group of three orchestral songs the composer wrote five years later.

Ravel’s Shéhérazade dates from his early maturity and its lush yet subtle harmony and refined if occasionally overwhelming orchestration are typical of the magic this delicate human being could create with his powerful art. They are settings of a poet whose real name was Léon Leclère (1874–1966), but whose pen name, which combined the hero of one of Wagner’s operas with the villain of another, was Tristan Klingsor.

The cycle was first performed in Paris in May 1904. The first song conjures up a vision of Asia, an Asia of the imagination drawn from picture books and fairy tales and including mystery, violence, beauty, eroticism, and a variety of perfumed scenes from Syria, Persia, India and China as if visited on a flying carpet. The second, La Flûte enchantée, begins with the tones of the instrument. The singer is listening to it from inside a house where her master is asleep. She is a servant, and her lover, outside, plays the flute. In the final song, L’Indiffé́rent, a young man of ambivalent sexuality strolls attractively by a house from where the singer watches and invites him in. But he merely passes on, with a graceful gesture.

Olivier Messiaen composed Poèmes pour Mi for his first wife, the violinist and composer Claire Delbos. They had met at the Paris Conservatoire, where both were students, and soon they were giving recitals together. They married on St Cecilia’s Day (22 November) 1932. “Mi” was the composer’s pet name for his wife. Messiaen went on to compose, in 1936, this cycle of nine songs to his own texts — both intimately personal and religious — celebrating their happiness. They were originally for voice and piano; he created an orchestral version the following year. With its immediacy and blend of simplicity with voluptuousness, the cycle has become one of his most performed works.

Tragically, towards the end of the Second World War, Mme Messiaen’s health declined. Following an operation she lost her memory and was hospitalised, remaining in institutions until her death in 1959. Together with the Chants de terre et de ciel (1938), which also celebrates the Messiaens’ son Pascal, the Poèmes remain as a moving testimony to the short-lived happiness of the composer’s first marriage.

Messiaen himself died in 1992 at the age of eighty-three. His colleague Henri Dutilleux, eight years his junior, is fortunately still with us. His relatively small output is of consistent quality and imagination, as audiences both in France and elsewhere are increasingly appreciating. The recipient, especially in recent years, of several major awards — notably the Ernst Siemens Prize (2005), the Prix Midem (2007), an honorary fellowship from Cardiff University and the Gold Medal of London’s Royal Philharmonic Society (both 2008) — Dutilleux is now attracting the widespread attention he has so long merited.

He too studied at the Paris Conservatoire and later taught there, also enjoying an important professional relationship as Head of Music Production for French Radio from the end of the war until 1963. A member of no school, and not tied to any particular system of composition, Dutilleux has created a highly individual and distinguished œuvre, indebted to a degree to his forebears Debussy and Ravel, but also occasionally lightly shaded by the experience of jazz. A master of the orchestra, he has composed two symphonies as well as two major concertos — one for cello (written for Rostropovich) and one for violin (for Isaac Stern) — in addition to piano music and chamber works. Vocal music has figured infrequently in his output, but the small selection of his works for voice clearly demonstrates the high quality of his musical thought.

His first extant songs (Dutilleux has withdrawn some earlier examples) are the Deux Sonnets de Jean Cassou, composed in 1954 for voice and piano but later orchestrated. Cassou (1897–1986) was a museum curator who joined the French Resistance in 1940 when dismissed from his post by the Vichy government. His Thirty-Three Sonnets Composed in Secret (from which Dutilleux selects two) were created during his subsequent imprisonment, though not then written down as he was denied the means to do so; they were clandestinely published under the pseudonym Jean Noir in 1944 and their writer later received the Croix de Guerre.

Dutilleux returned to vocal composition for the important orchestral cycle Correspondances, premiered by Dawn Upshaw and the Berlin Philharmonic under Simon Rattle in 2003, and has more recently been inspired by the voice and artistic personality of Francophone soprano René́e Fleming to compose Le Temps l’horloge — four songs plus an interlude positioned between the last two (2006–09). The first performance of the complete cycle was given by Fleming at the Théâtre des Champs-É́lysées, Paris, with the Orchestre National de France under Seiji Ozawa, on 7 May 2009. The work employs a large orchestra with a couple of unusual additions — harpsichord and accordion — used with Dutilleux’s regular selectivity and subtlety.

His choice of poets is again characteristic. The first two songs — Le Temps l’horloge and Le Masque — set words by Jean Tardieu, a poet and musician alongside whom Dutilleux worked for many years at Radio France. Unusually, the interlude is also associated with a text — Tardieu’s prose poem Le Futur antérieur — though it does not set it. The text of Le Dernier Poème is by the Surrealist Robert Desnos, another member of the French Resistance, who died in the Nazi concentration camp at Terezín (Theresienstadt) in 1945. Finally, Dutilleux turns to his beloved Baudelaire, whom he cites as a major influence on his creativity and whose work also provided the title for his cello concerto, Tout un monde lointain. Enivrez-vous is one of Baudelaire’s posthumously published Petits Poèmes en prose, urging the necessity for a drunken (presumably meaning thoroughly uninhibited) approach to life in all its aspects. ---George Hall, deccaclassics.com

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01. Ave Maria
02. Herz und Mund und Tat und Leben, Cantata BWV 147 - Jesu bleibet meine Freude
03. Dank sei dir, Herr
04. Ave Maria, D839
05. Mass in C minor, K.427 "Grosse Messe" - Laudamus te
06. Panis Angelicus
07. Messiah , Part 1 - Air: "He shall feed his Flock"
08. Mass - Simple Song
09. Requiem, Op.48 - Pie Jesu
10. Gloria - Domine Deus
11. Vesperae solennes de confessore in C, K.339 - Laudate Dominum omnes gentes
12. Messiah , Part 1 - Air: Rejoice greatly, o daughter of Zion
13. Hänsel und Gretel , Act 2 - "Abends will ich schlafen gehn"
14. L'Enfance du Christ, Op.25 - Arr. Chris Hazell - L'Adieu des bergers
15. Mariä Wiegenlied, Op.76,52
16. Amazing Grace 

Renée Fleming – soprano
Susan Graham – mezzo-soprano
Mark O'Connor – violin
Royal Philharmonic Orchestra
Andreas Delfs – conductor

Renée Fleming, a.k.a. "The Beautiful Voice," is in fine form here, the voice gleaming with radiance in a November 2005 concert in Mainz Cathedral. With an orchestra under the baton of early music guru Trevor Pinnock, she opens with an abundantly embellished "Rejoice greatly," from Handel's Messiah and ends with Adolphe Adam's Christmas staple, "O Holy night" in a soupy arrangement by Chris Hazell. The musical highlights are the "Laudamus te" from Mozart's Mass in C minor and "L'Adieu des bergers" from Berlioz's L'Enfance du Christ, the former exciting for its coloratura, the latter a touch fussy, while in other selections, tonal beauty is bought with mushy diction. Chorus and orchestra get several selections for themselves, but the spotlight's on Fleming, very much the décolleté gowned diva. Mainz Cathedral is a handsome structure whose graceful columns and vaulted ceiling make for interesting visuals that complement the music. Added bonus songs include Bernstein's "A Simple Song" from his Mass, and a pair of traditional items including "Silent Night," these shot in front of a crèche and a Christmas tree with singer and accompanists wrapped in winter clothes. Extras include still photos and a film about the cathedral. Fleming's fans will snap this up. ---Dan Davis, amazon.com

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01 Charpentier - Louise - Depuis Le Jour
02 Gounod - Faust - Jewel Song
03 Massenet - Manon - Gavotte
04 Dvorak - Songs My Mother Taught Me
05 Flotow - Martha - Tis The Last Rose Of Summer
06 Puccini - La Rondine - Chi Il Bel Sogno Di Doretta
07 Korngold - Die Tote Stadt - Mariettas Lied
08 Orff - Carmina Burana - In Trutina
09 R.Strauss - Morgen
10 Rachmaninov - Vocalise
11 J.Strauss II - Die Fledermaus - Klange Der Heimat
12 Lehar - Die Lustige Witwe - Es Lebt'eine Vilja
13 Cano - Luna - Epilogo
14 Canteloube - Chants D'Auvergne – Bailero 

Renée Fleming – soprano
Osian Ellis – harp
Paul Willey - concert master, violin
Clive Greensmith – cello
Ian Watson – piano
London Voices
Christopher Middleton – choir master
English Chamber Orchestra
Charles Mackerras – conductor
Jeffrey Tate – conductor

Sure, it takes guts for a soprano to call an album THE BEAUTIFUL VOICE. But Renée Fleming did it, and the title fits. Fleming, a recognized performer with a wealth of talent, had the luxury of being allowed to program the music she loved--music as gratifying to sing as it is to hear.

With careful and varied support from Jeffrey Tate and the English Chamber Orchestra, Fleming's program is a wash of exquisite music, mostly about love: longing for lost love (in "Marietta's Lied"); first knowing love (in "Depuis le jour"); in youth (the "Jewel Song"); and in old age ("The last rose").

Fleming is at her best here in operatic selections in which the diva halts the action to tell a story, to dwell in a moment, or to draw her on- and off-stage audiences into the action. There is some well-trodden ground here, but long, flowing lines and sumptuous, floating high notes keep the program fresh. In a market glutted with artist-centered albums, THE BEAUTIFUL VOICE is a standout. ---Rovi

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