San Francisco Classical Voice

OPERA REVIEW

Winners All

September 10, 2004

Renee Fleming

By Olivia Stapp

At the opening of its 82nd season Friday night, the San Francisco Opera reaffirmed on levels artistic and social, its commitment to cultural excellence. Artistic achievement and the accompanying hoopla and joyous glitz of a gala event reinforced each other in this undeniably appropriate setting. The annual ritual requires glamorous dress, elegant dining and dancing, and a super-star performance. Friday night, the foyers in the War Memorial Opera House were overflowing with a stunningly adorned audience and local dignitaries — Mayors Willie Brown and Gavin Newsom among them — all primed for a celebratory evening. In the courtyard, a tented pavilion beckoned those patrons who had paid $1000 or more for the post-performance supper and ball. The upscale menu included such items as potato decadence timbale, Dungeness crab timbale, and filet mignon. On stage, for the gala performance, was the acclaimed American soprano of our day, Renee Fleming.

After a brief congratulatory announcement from General Director Pamela Rosenberg and Chairman of the Board Pitch Johnson, Donald Runnicles struck up the Star-Spangled Banner and the performance began. A crisp rendition of the overture to The Marriage of Figaro followed, and then the scrim rose to reveal in center spotlight, a vision of Fleming in a bejeweled midnight blue gown.

The program was staged by Sarah Bernhard and designed by Robert Hill. Each aria was framed by a backdrop with evocative lighting to enhance the music. The concert consisted of several unusual arias, beginning slowly with two selections from Handel's Semele and Rodelinda, and then picking up musical steam with the “Casta diva” from Bellini's Norma. The second half began with three pieces from Thaïs, including the “Meditation,” played soulfully by violinist Kay Stern. Generally, the program was low-keyed and subdued, but the scene “Dis-moi que je suis belle” from Thaïs and the final scene from Strauss' Capriccio added zest. There were three lively encores, “Wenn du es wüstest” from Strauss' Four Last Songs, “O mio babbino caro,” (Puccini) and “Sea Air” from Andre Previn's Streetcar Named Desire.

Skill and grace

There is nothing of the overbearing opera diva in Fleming's deportment. Instead she projects the image of an endearing melodist, romantic and intimate rather than diffident and magisterial. Her early musical career in jazz comes through, both in her demeanor and in the unique vocal coloring she brings to the classical repertory.

Fleming sings with great delicacy and acute tonal awareness. She bends notes and goes from straight tone to vibrato, using all the while her rich operatic quality. Unlike other lyric leggiero (light) sopranos, she is unafraid of chest voice, which she utilizes masterfully in all styles, from Handel, to Strauss and Massenet. Her music seems to emerge from an inner equipoise and refinement. Like a watercolorist she works with sheer, diaphanous textures. Her programming reflects this origin. It was not a compendium of Top Hits of the sort usually served up at this kind of event; but all the same, the selections were enthusiastically received. Music Director Donald Runnicles and the San Francisco Opera orchestra accompanied the singer with sensitivity and the Opera Chorus sang well.

The evening is expected to raise over $600,000 for the San Francisco Opera and Guild's educational and outreach programs to the community, which makes opera accessible by taking programs to the schools, hospitals, and senior citizens. Over 40,000 students and elderly are reached annually. Congratulations!