Scenes from Bellini's Il pirata and La sonnambula, Donizetti's Lucrezia Borgia and Maria Padilla, and Rossini's Armida and Semiramide. Renée Fleming, soprano. Orchestra of St. Luke's, Patrick Summers, conductor. (Decca 467101)

The release of this CD coincides with Renée Fleming's appearances this month in the Metropolitan Opera's first-ever staging of Bellini's Il pirata. At a time when too many operatic luminaries sing in a manner that is more "can belto" than bel canto, it is a joy to hear Fleming perform this neglected repertory with such stylistic savvy. (Fleming has avidly studied historic opera recordings by Golden Age singers.)

Fleming has avowed that her vocal agility stems from having sung jazz improvisations during her college years. Upon hearing the moving "Mad Scene" finale from Il pirata (as well as the five other operas excerpted on this CD), those who think of Fleming only as a plush, lyric soprano will be startled by the abandon and accuracy of her coloratura, her extremes of high and low register, the intensity of her attacks, the alacrity with which she employs chest voice, her skill in ornamenting repeats, and her expressive pathos. She is ably supported by the orchestra led by Patrick Summers, music director of the Houston Grand Opera.

Fleming—who attended Juilliard's American Opera Center from 1983-86 and studied voice with Beverley Peck Johnson—has a voluminous and varied discography. Fleming considers Richard Strauss her "desert island" composer: listen to her ecstatic Strauss Four Last Songs (RCA 68539). In recent seasons, Fleming has sung a memorable Marschallin in Der Rosenkavalier at the Met, followed by Arabella. Auspiciously, Fleming's Rosenkavalier Act 1 monologue and transcendent third-act trio, plus scenes from Arabella and Capriccio, can be heard on her Strauss Heroines CD (Decca 466314).

Other recommended Fleming recordings are a recital of French songs with Thibaudet (Decca 467697), a Schubert Lieder album (London 455295), a disc of Mozart arias (London 452602), and opera scenes with Solti (London 455760) and Mackerras (Decca 467049).

Senofsky and Graffman in Concert

Brahms Sonata No. 2 in A Major, Op. 100, and Sonatensatz; Prokofiev Sonata No. 1 in F Minor, Op. 80. Berl Senofsky, violin; Gary Graffman, piano. (Bridge 9118)

In 1955, Berl Senofsky—who died this June at the age of 77—became the first (and only) American violinist to win the elite Queen Elisabeth of Belgium Competition. He had enrolled in Juilliard at age 12, studying with Ivan Galamian from 1937-1948 (interrupted by five years of military service). Senofsky won the Naumburg Competition in 1946, debuting at Town Hall that same year and at Carnegie Hall in 1948. From 1965 on, he taught at Peabody for more than 30 years. In the 1960s, Senofsky made a superb series of concerto, sonata, and piano trio recordings for RCA, none of which has been reissued on CD. Three recent releases from other sources now allow listeners to appreciate Senofsky's significant stature.

The new Bridge CD was recorded live at the Library of Congress in 1975, four years before Senofsky's pianistic partner, Gary Graffman, suffered a disabling injury to his right hand. Graffman, who was awarded an honorary degree by Juilliard in 1993, is currently president of the Curtis Institute. Senofsky's warm tone and impassioned interpretations are exceptional; Graffman collaborates with flawless unanimity.

A pair of splendid Senofsky CDs on the Cembal d'amour label should also not be missed. Volume 1 contains Vivaldi and Schubert sonatas and 16 encore pieces (CD 106). Volume 2 consists of sonatas by Fauré, Debussy, and Prokofiev

(No. 2), and a Stravinsky suite, recorded live 1949-1958 in New York and Brussels (CD 110).

Mention this column at the Juilliard Bookstore to receive a 5-percent discount on this month's featured recordings. (In-store purchases only.)