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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.

Renee Fleming

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Renee Fleming
Age: 65
Born: 1959
Born: February 14
Musician
Opera Singer
Indiana
Pennsylvania
Renee Fleming
Shows
Ducklings
Littles
Costumes
Little
Sister
Kind
Younger
Make
Brother
Would
Stage
Worst
Kiddie
Mother
Duckling

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In a way, being an opera singer is like being a very romantic sixteen-year-old who falls in love with great passion and conviction every month.
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When I sing, the sound is a totally different range, color, all of it. It's all about the breath. You take in a breath and you make a sound.
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My worry is that opera will become an historic art form as opposed to a living, breathing thing.
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I don't like to sing loud.
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Singers can also get away with a lot based on youth, strength and enthusiasm, only to find ten years later that what was once just a niggling problem has brought their careers to an end.
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I was always a very good student.
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I have a certain image that's more classic, and I'm happy to stay out of the fray.
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I have a noble history of being rejected by a lot of places, only to discover that the one that finally lets me in is in fact the perfect fit.
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The student's job is to stay open-minded, to quell the knee-jerk defensiveness we all possess in the face of suggestions for improvement, and to maintain patience when faced with a process that is often slow, confusing, and frustrating.
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We sing with the entire body. The sounds that we make emanate not just from the head, but from the whole heart and soul, and, most important, the gut.
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There's no performance where I never have to think about setting up a phrase or making a technical adjustment while I'm performing.
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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 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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Well, any time Im preparing for a performance or even a rehearsal, its as if in a way, like any other athletes, these are muscles that support the vocal cords which are just I believe cartilage. It demands a kind of constant warming up and a constant feeling of where is the voice today.
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I listen to archival and historic recordings. I love watching singers. I learned a lot from watching videos.
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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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Your brain has a music room, and evolution would not have gone to the trouble of designing that if it didn't have some benefits. So, that suggests to me that we and our ancestors have had music as a central part of our experience for eons. And we're just beginning to understand how that might be. I think that's fascinating.
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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.
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I learned so many roles so quickly as a young singer, I thought it was time to come back to them and make them better - deeper, more nuanced.
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I don't want to record anything unless it can be great and genuinely interesting.
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