Paul McCartney, Gustav Mahler, Joni Mitchell, Emile Paladilhe, Arthur Schwartz, James ("Jimmy") Van Heusen, Various Composers, Heitor Villa-Lobos, Jimmy Webb, Richard A. Whiting, Stevie Wonder, Guy Wood, Bill Frisell, Fred Hersch, RenA©e Fleming - Haunted Heart

While countless fans flock to see soprano Renee Fleming's performances of the Countess in The Marriage of Figaro because she's got the voice and the dramatic ability to handle such meaty roles, the versatile singer throws her fans a curveball on Haunted Heart, singing popular standards and ballads as well as a few altered classical pieces. In her liner notes, Fleming calls this album a "look back at the road not taken" -- she played a weekly gig in a jazz club while in school. Nonetheless, her feel for the material here is undeniable. Interestingly, she drops her voice a full octave from her usual tessitura, and the change reveals a robust gospel-oriented approach filled with dramatic breaths and moans. The lyrical Fred Hersch (piano) and the idiosyncratic Bill Frisell (guitar) provide support, and both are adventurous jazz players who create subtle and uniquely haunting backdrops. It adds up to an interesting cross-section of ideas well carried off by the generous talents of all involved. --Tad Hendrickson

Interview with Renee Fleming
Renee Fleming speaks about recent projects, including her memoir The Inner Voice and her recent Handel CD, in our interview. Amazon.com

" With Eileen Farrell whispering in her ear"

I began to appreciate this cd with the 2nd listening. I wasn't immediately impressed. Renee Fleming has one of the greatest voices in opera history. Her Marschallin has no equal. Many opera singers have crashed when attempting a different musical style. For me, the reason is they use their operatic voice to sing the new style. This produces a "heavy", undesirable sound. When I heard Renee Fleming sing " Summertime" from Porgy & Bess, I knew she could sing anything.Her voice possesses beauty and emotion most singers lack.
This cd is so unbelievably fantastic. "Haunted Heart" gets the ball rolling. You are transported into a dark, smoky jazz club in the Latin Quarter of New Orleans. A lovely chanteuse serenades you for the next hour. "River", "My one and only" and " Haunted Heart" are the stars of this cd.
I think of Sarah Vaughan and Nina Simone when I hear this cd. It's a masterpiece. The "Answer Me" arrangement and a couple other I didn't care for. But, even on those, Renee's delivery was superb. Please,Please,Please buy this cd!!! I hope the naysayers haven't discouraged Renee from making a foray into jazz again. August 10, 2008

My best stress reliever!

There are many that don't think Fleming does jazz "right" on this recording, or they don't like the trained, operatic quality in her singing. I would disagree. It is the fact that she carries over her attention to detail from the classical world that makes this recording great. My friends joke about the calming effect this CD has on me. If ever I'm stressed out, I can rely on this music to even me out. I think if you like Renee Fleming, you will like this CD. July 5, 2008

Great voice and songs, needed a bit more umph tho.

She has a great voice and this cd was great. In fact, i know she sings well for opera but she has the voice for great jazz as well. The only thing about this cd tho was the tempo for the songs. She draws out pretty much every song like an aria all most. Not that it was bad but for me a bit draggy and she has the talent for the more upbeat jazz songs. April 21, 2008

disappointed

I was disappointed in this CD. Maybe it is the selection Renee chose to sing.
I love her voice but prefer to hear it in operas. February 5, 2008

Sublime and ridiculous

The sublime: much of the artistry of this recording is about sound, and the subtle blending/responding of voice with guitar sounds and / or piano sounds. It is in the sensitive musical interplay between the artists where this effort shines. Definitely not recommended for road trips!

The ridiculous: Fleming ended the majority of most phrases in most of the songs with a guttural of some sort which for me becomes irritating to the point of distraction. These punctuations are mostly tasteless, clumsy, and overused big time. Without these ersatz testifyin' noises this CD would be stunning.

So, if you can edit out this garbage from your perception as you listen I think you'll be glad you experienced these artists at work together. (Unfortunately I'm not up to it).

PS: Diction on You've Changed is good for a chuckle: includes "the mammaries we've shared" - it's reassuring to know that both t(.)(.)k part in the fun - "you've change", "we're sthrough" and "you're not the angel I fwonce knew". June 13, 2007

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