Lyric’s “Voice of Nature: The Anthropocene,” with Inon Barnatan and Renée Fleming/Photo: Cory Weaver
The illustrious Renée Fleming made a much-anticipated return to the stage of Lyric Opera of Chicago on February 5 in “Voice of Nature: The Anthropocene,” a solo recital with piano that proved to be as treasurable for its thoughtfulness as for musical value.
The program was inspired by Fleming’s 2023 Grammy-winning album of the same name, but the program was not a rehash of material found there. Although the recital sprang from that earlier effort in its celebration of the natural world, there was little overlap in material, save Nico Muhly’s “Endless Space.”
Fleming was her gracious and glamorous self in a flowing lavender crepe gown shot with silver embroidery, later changing into a rose-gold sparkling sheath. The program was primarily composed of contemporary songs in various genres performed with a microphone, which was set aside for a smattering of arias and classical pieces.
This juxtaposition was announced immediately with the folksy fluidity of Hazel Dickens “Pretty Bird,” followed by an elegant performance of Handel’s “Care Selve” distinguished by Fleming’s delicately floated upper register and liquid trills. Selections from Canteloube and even Björk followed, as well as an acutely moving piece from film composer Curtis Green, “Red Mountains Sometimes Cry.”
The selections were performed straight through with no applause and were accompanied by a stunning film created by the National Geographic Society depicting the world’s natural wonders, majestic and miniature.
There was a prerecorded Entr’acte of Jackson Browne’s “Before the Deluge” during intermission that much of the audience missed—a pity, as it provided an opportunity to hear Fleming’s voice joyfully blended with those of Rhiannon Giddens and Alison Krauss.
The second half of the program was announced as a pastiche of “favorite things.” We were treated to melting accounts of Puccini’s “O mio babbino caro” and “Oh Sleep, why dost thou leave me?” from Handel’s “Semele.”
The highlight of the evening was an exquisitely rendered pairing of J. Todd Frazier’s “We Hold These Truths” (text taken from the Declaration of Independence) and John Kander’s setting of Civil War officer Sullivan Ballou’s famous letter to his wife, written just before his entry into battle—all accompanied by projected images of American soldiers from various wars and of varying ethnicities and genders. The authenticity and unabashed patriotism of this interlude was emotionally shattering.
Lyric’s “Voice of Nature: The Anthropocene,” with Inon Barnatan and Renée Fleming/Photo: Cory Weaver
Pianist Inon Barnatan’s contribution cannot be too highly praised. Beyond support of Fleming, Barnatan essayed a dazzling account of the Rachmaninoff “Moments Musicaux No. 4” and a crisply theatrical reading of two pieces from Earl Wild’s “7 Virtuoso Etudes after Gershwin.”
Encores included a community sing-along of Leonard Cohen’s “Hallelujah,” Andrew Lippa’s roguish “The Diva” and “Morgen!” by Richard Strauss.
Fleming is not specifically known for making political statements. But after the recent Kennedy Center kerfuffle, it was impossible not to feel that in her indirect, great lady manner, she scored one here in a recital that stressed love of the earth, and love of country. It was perhaps significant that the evening ended with a reminder from the stage that the text of “Morgen!” speaks of a better day tomorrow. Fleming remains America’s great diva. On this occasion, she demonstrated herself to be a great American as well.
Renée Fleming performed “Voice of Nature: The Anthropocene” at Lyric Opera House, 20 North Wacker Drive, on February 5.
