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While countless fans flock to see soprano Renee Fleming's performances of the Countess inThe Marriage of Figarobecause she's got the voice and the dramatic ability to handle such meaty roles, the versatile singer throws her fans a curveball onHaunted 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.

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Label:  Decca
ArtistFred Hersch, Bill Frisell, Renée Fleming
Genre:  Classical
Release Date:  May 10, 2005
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review by . November 03, 2006
posted in Music Matters
Like other reviewers here, I had my reservations about this album. Time and again, opera singers have tried adapting their voices to other styles, and most crash and burn horribly; but Renee Fleming's 2005 album 'Haunted Heart' is the exception to the rule.    Here, Ms Fleming lays her soul bare, sharing a style of lyrical jazz that she is effortlessly suited to. Her voice seems to float through and inhabit these songs. In the liner notes to the album, Fleming says that this …
review by . May 24, 2005
The first reaction to an album such as this HAUNTED HEART venture by the current Diva of the opera and recital stage Renée Fleming is one of pessimism: why do opera singers feel the need to enter the pops field? Well, remember Helen Traubel? While she was the reigning Wagnerian soprano at the Met she visited clubs and sang popular music and suffered the wrath of Rudolf Bing! So why, we ask, is Renée Fleming taking this same risk?    Well, in the case of this recording and with …
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