Exclusive: Renée Fleming Discusses Her New IMAX Film Cities That Sing – Paris

First she graced the world’s biggest stages — and now, Grammy winner Renée Fleming has graced the big screen. And we’re talking IMAX big — screens large enough to successfully commemorate iconic films and more. Her new immersive documentary, Cities That Sing – Paris, will win the hearts of opera lovers everywhere. With the help of Stage Access and giant cinema-scope lenses, Fleming introduces viewers to one of the most majestic cities in the world and offers an appreciation of its music, performance, culture, art, and food. And more than that — she is joined by many of its notable residents.

Cities That Sing – Paris is the first of two immersive experiences by IMAX, with the second to focus on Venice. It features gripping operatic performances from Fleming and others at historic theaters across the city. Over the course of its tight 85-minute duration, Fleming is joined on stage by special guest stars, such as renowned performer Alexandre Duhamel. Here’s our exclusive interview with Fleming as she dives deeper into the behind-the-scenes of her latest project.

Bringing Opera To The Larger Public

MW: Tell us about your involvement in Cities That Sing – Paris, from conception to completion.

Renée Fleming: It may have been that IMAX was interested in doing a whole performance element, and they were interested in adding a classical element to it and had done a lot of market research and said, “Well, it has to be Renee.” And I’m never looking for more things to do, but sometimes, I just thought, “Wow, IMAX. This is exciting, and the opportunity to be on the large screen but have it be intimate and have it be so accessible to so many people worldwide was very enticing.”

And I’m always looking for ways to bring opera to a larger public. So I think they talked to Stage Access, who I already knew, and that’s how the whole thing started. And I said, “I don’t want to do a live concert of just me. That’s not really what I would want to do at this point. I would do it with other singers, and I would love to host and tell some stories about the composers and the city as it relates to opera.” And so there was a long negotiation part because IMAX at the time really wanted just performance. We got a little bit of text in there.

The idea is good, especially after COVID when people weren’t able to travel. The first time I went back to Europe, it was a joyful reunion. So this way, you can have that reunion in your local IMAX theater.

Related: The Best Performances in 21st Century Movie Musicals, Ranked

Reacquainting Ourselves With The City Of Light

MW: The film covers a lot of ground and offers a great deal of insight into both Paris and the opera scene. What do you hope audiences take away from Cities That Sing?

Renée Fleming: Two things. One is the city itself. It’s Paris. The whole world loves Paris. It may be the most beloved city in the world. Certainly, in the 20th century, it was. So that’s one thing — it’s reacquainting, but through a different lens because I don’t think people know the operatic history and how many great tunes and great stories have come from composers who were there. So, two-fold.

And then you also have three other singers and an orchestra who are phenomenal. Two of them are French, and the orchestra of course. And we look at wine with Robert Carsen, who has a gorgeous home. And Alexi Maguie, who is one of 14 validated French couturier… The gowns he made for me for this broadcast are so spectacular. There was no way to even travel with them because they’re too big, too grand. They were like costumes.

Special Mentions About Venice And Paris

MW: What can you tell us about the upcoming Venice film?

Renée Fleming: Well, my joke has been, “If you haven’t been filmed by a drone on a boat in the canal, you simply haven’t lived.” We really had a day and a half of just that. Between the speed boat and the gondeliers, it was just magical.

MW: Is there anything else you’d like to share about the Paris documentary?

Renée Fleming: I would also highlight Piotr Beczala, the Polish tenor. He’s a huge star right now, and he can sing almost anything. So, sharing this with him was especially exciting. And Axelle Fanyo is someone I discovered because she sang in the Carnegie Hall sound studio that I produce there. And people have just really responded beautifully to her. She has an enormous personality and a beautiful sound.