Liner Notes

Star Crossed Lovers

From forth the fatal loins of
These two foes,
    A pair of star-cross'd
    Lovers take their life;
Whose misadventur'd
Piteous overthrows
    Do with their death bury
    Their parents' strife.

Romeo and Juliet

On 26 January 1988, in a special concert entitled "Star Crossed Lovers", a Chicago audience was captivated by two luminaries of operatic royalty. Renée Fleming and Plácido Domingo, collaborating with the Chicago Symphony Orchestra and its music director Daniel Barenboim, performed dazzlingly in an extraordinarily varied repertoire. Taking its inspiration from the poignant appeal of ill-fated love, the program mixed music with complementary texts, notably Shakespeare and Elizabeth Barrett Browning, suavely delivered by two of Britain's most accomplished actors, Lynn Redgrave and Timothy Dalton, the evening's exciting occasion would deserve a wider public than just the lucky ticket-holders who experienced Symphony Center, so it was fortunate indeed that microphone were present to preserve this remarkable concert, on which this disc is based.
After Barenboim and the orchestra blazed through the Prologue from West Side Story, the two singers were welcomed onstage for that musical's love scene, the first duet of the evening. "Tonight" re-invents Shakespeare's Romeo and Juliet as teenagers in modern-day New York: Tony and Maria, made memorable by Bernstein's soaring music and Sondheim's equally affecting lyrics. Following the Chicago Symphony's performance of the hair-raising "Rumble" between the Jets/Montagues and the Sharks/Capulets, Fleming returned for West Side Story's most touching melody, "Somewhere". An anthem of hope and longing for lovers everywhere, it ideally suits Fleming's caressing tone and innate sincerity.
The next segment covered French opera, in which both Fleming and Domingo excel. The tenor has ranged from the lyricism of Roméo et Juliette and Les Contes d'Hoffmann to the sterner demands of Carmen and Samson et Dalila. Earlier in his career he triumphed in Faust, an opera in which Fleming has enchanted American and Parisian audiences. She has been equally persuasive as Massenet's Manon and Thaïs. A rarely heard Massenet opera, Hérodiade, paired her with Domingo in a production staged especially for them (San Francisco Opera, 1994). Because they will probably never partner each other onstage in a complete Faust, their performance here of the opera's love duet seems doubly significant. With these two singers, elegance and passion are equally present in this music — Faust's ardent wooing of Marguerite, her hesitation, and ultimately the apprehension with which she yields her heart.
Singing in his native Spanish always elicits a vivid response from Domingo, reminding us of his artistic heritage (he is the son of Spanish singers who performed for many years in their own zarzuela company). For this event, Barenboim (himself originally from Buenos Aires) accompanied Domingo at the piano in music the tenor has long championed. The tragically short-lived Carlos Gardel (1890-1935) remains a national hero of Argentina; as both singer and composer, he brought the tango astounding popularity. Federico Moreno Torroba (1891-1982) was the last great master of the zarzuela. When nearly 90, he composed a genuine opera, El Poeta, written for and premiered by Plácido Domingo. Two of his best songs are recorded here as bonus tracks.
Soprano and tenor reappeared after the intermission to reprise the love duet from Verdi's Otello, with which they had stunned Metropolitan Opera audiences on the opening night of the 1996-97 season. Domingo has reigned internationally for nearly a quarter-century as Otello, having refined his portrayal into a moving display of theatrical power and vocal mastery. Fleming's exquisite Desdemona, a role she cherishes, is setting the standard for sopranos of her generation. Singing with the Chicago Symphony, the two artists called on their previous experience together in this opera to create a truly committed performance. The music emerged with all the warmth of feeling one could hope for in this ravishing scene.
It is no longer a secret that Renée Fleming sings Duke Ellington with the same ease and authority that she displays in Mozart, bel canto, and Strauss. Fleming sang jazz throughout her college years; both vocally and stylistically, she provoked deep admiration in the many brilliant, seasoned musicians with whom she performed. Today jazz phrasing remains second nature to her, and she regularly includes Ellington in her recitals, not only as encores but as an "official" part of the program. And what a marvelous surprise to find as her accompanist Daniel Barenboim in an unaccustomed role — jazz pianist!
Just as astonishing as Fleming's association with jazz is Domingo's with German repertoire. Whether on disc or in the theater, he has made his mark as Weber's Huon (Oberon) and in five major Wagner roles. He greatly enjoys the lighter works, including showpieces from well-known Viennese operettas. A particular favorite is "Dein ist mein ganzes Herz" from Lehár's Das Land des Lächelns (The Land of Smiles), one of the few works in the genre that ends unhappily: The star-crossed couple, a Chinese prince and his Austrian lady love, are unable to conquer the differences between their cultures, and part sadly in a bittersweet finale. That happens some time after Prince Sou-Chong's big number, perhaps the most passionate outpouring of heartfelt devotion in any operetta.
For their final duet, Fleming and Domingo offered music sung by a pair who might have been star-crossed, but manage to resolve their difficulties and achieve the blissful ending their audience craves. The lovers are dashing Count Danilo Danilowitsch and glamorous Hanna Glawari in Lehár's Die lustige Witwe (The Merry Widow). The emotional climax of the irresistible work arrives with the justly famous waltz, "Lippen schweigen". After hearing Domingo demonstrate his flair for Lehár as Sou-Chong, his partner responded in kind as Hanna to his Danilo. Fleming seldom has an opportunity to perform in operetta, but judging by her soaring top notes, floating soft singing, and glowing femininity, she would seem to be a "natural" for it. Here could be yet another area of the repertoire for these two uniquely versatile artists to explore together.
— Roger Pines
(Roger Pines, program editor at Lyric Opera of Chicago, writes regularly for recordings, music magazines, and programs of major opera companies.)