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I've spent hours and hours doing research into Appalachian folk music. My grandfather was a fiddler. There is something very immediate, very simple and emotional, about that music.

Renee Fleming

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Renee Fleming
Age: 65
Born: 1959
Born: February 14
Musician
Opera Singer
Indiana
Pennsylvania
Renee Fleming
Hours
Fiddlers
Simple
Folk
Music
Grandfather
Something
Immediate
Folks
Spent
Appalachian
Research
Fiddler
Emotional
Appalachia

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A lot of bad behavior in singers is caused by nerves.
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My mother was the worst kind of stage mother. She would make me and my younger sister and brother little duckling costumes and put us in kiddie shows.
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At this stage in my career, I don't have to take any big risks. You want to take a calculated risk, not one that leads to people saying 'yes, but there was that one time when she made that big mistake.' It's always a shame when that happens, especially if you've gotten by for decades without anything hugely tragic.
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I enjoy the more floaty, exposed, elegant singing.
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One of my timesaving habits is to save all of my magazines and junk mail for airplane trips. I walk on the plane with a very heavy bundle, but by the time the trip is over, it can all be thrown away.
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I think singing is one of the most natural things that human beings do, but it's difficult.
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So much can be gained from watching other singers, seeing what they do and what they don't do, seeing how they look when they breathe, how wide they open their mouths for a high note.
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Perfection often creates such a flawless surface that there's no place for the audience to enter into a piece, while the idiosyncrasies of individual style are like windows into the singer's heart.
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I have not changed with the accomplishments. I've remained the same. If I had changed, great. You know, but I haven't.
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We are unique, each human voice, not because we are completely self-generated, but because of who we choose to assemble the countless factors that made us.
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I don't want to record anything unless it can be great and genuinely interesting.
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I want to get out of the major opera houses.
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Among the important realizations I had in my own days in the practice room was that if any one route to any one phrase didn't work after days of trying, then the exact opposite route should at least be explored, as well as every alternative in between, as counterintuitive as that often seemed.
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An interpretation exists because of what we find between the notes.
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No voice teacher can be all things to all people. You have to gain information from whatever sources you can. You have to listen.
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I'm lucky - I can do two things at once.
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I'm reserved, so I've always needed to find a way of opening up. Jazz helped me do that.
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