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See and discover other items: There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime. Your recently viewed items and featured recommendations. View or edit your browsing history. Get to Know Us. One person found this helpful 2 people found this helpful. While there are times I find Renee Fleming is only a fab singer because shes' one of the few American opera singers to really make it big and because she really only rides on the success of "echo" performers I swear there are times she reminds me of such artists as Montserrat Caballe, Elisabeth Schwartzkopf, Beverly Sills, Kiri Te Kanawa and Emmy Ameling.

This is not to say shes' a phony. She has great talent and she is unique, but she does hark back to the forementioned singers if you study her technique.

Pourquoi me Reveiller - Werther (Massenet - Jonas Kaufmann) - Subtitulos en EspaƱol

Nevertheless, this Manon is finely sung by Fleming. A great thing about this record is the fact its a fine mix of French and Spanish, and that I like!! Recorded at the Paris Opera in , its music is played by French forces and it features two Spanish artists- the conductor himself Jesus Lopez-Cobos and tenor Marcelo Alvarez.

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Renee Fleming has never been in more control than she is as Manon. Really, it even surpasses her Rusalka, for which she is more famously known. Rusalka has nowhere near the depth and complexity of Manon.

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Fleming, with her vast love of opera and her predecessors who sang the role, has a wide range of emotions in her portrayal. She intones every line with technical bravura, graceful French lyricism she should sing more French roles like the Lucia in French or the Tales of Hoffman heroines or more Massenet heroines or Juliette in Gounod's Marguerite heroine. Fleming has a high gleaming gorgeous top C's E's and a nicely developed middle register. As Manon, she is captivating and beautiful.

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The tenor Marcelo Alvarez is absolutely great as Des Grieux, making use of all his talents from the soft lines to the more bombastic ones. All in all, a great Manon and a must have for Fleming fans.

This is quite frankly her best work. She may continue to sing Italian roles but she is going to be unsurpassed in French repertoire should she continue or Strauss German roles.

I agree with Robert Levine's statements about Fleming needing to warm into the role, but to me it is only in the very first scene, Manon's entrance, that she seems a bit off. She adopts an overly coy quality that just sounds odd and awkward. This type of perky girlish simplicity may just be a certain facet of characterization that isn't one of Fleming's strengths as a singing actress. From the duet at Des Greiux's entrance on, she is remarkable.

So many details of phrasing and color! Special mention must be given to Fleming in the extremely difficult Cours-la-reine scene, which glitters brilliance and exudes sex appeal. She adds some unique phrasing touches to the "Je marche sur tous le chemin" section. Not too much and not too drastic - she doesn't distort the music, but makes very strong emphasis of Massenet's own meticulous markings in the score.

And she executes her interpretation with such control! Her voice just rings with glamour and her two high D's are full, huge, dazzling notes, seemingly held forever. The tenor Alvarez is very good, but not brilliant. More innate personal charm would help make him a great Des G. I loved the Lescaut of Jean-Luc Chaignaud.

This is a singer I'm not familiar with and he is impossibly sexy and suave in the role with just a hint of the buffoon.

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