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My worry is that opera will become an historic art form as opposed to a living, breathing thing.

Renee Fleming

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Renee Fleming
Age: 65
Born: 1959
Born: February 14
Musician
Opera Singer
Indiana
Pennsylvania
Renee Fleming
Opposed
Breathing
Worry
Living
Art
Form
Become
Historic
Thing
Opera

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Everybody's a work in progress. I'm a work in progress. I mean, I've never arrived. I'm still learning all the time.
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I don't like to sing loud.
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My whole career I played these girls sort of 18 to 23.
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Music was language in our house. It was air.....I feel certain that if I absorbed any lessons at all in the first months and years of my life, they must have been about the work that went into making a beautiful sound.
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With classical singing you have to put out so much air - you project, you emit force.
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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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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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Music enabled me as a fragile young person to give voice to emotions I could barely name, and how it enables me to give my voice the unique and mysterious power to speak to others.
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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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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 enjoy the more floaty, exposed, elegant singing.
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I'm lucky - I can do two things at once.
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I cannot imagine a more satisfying calling than my own: beauty, humanity, and history every day, combined with the cathartic joy of singing.
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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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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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I'm reserved, so I've always needed to find a way of opening up. Jazz helped me do that.
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I haven't really been able to transfer into that extraordinarily other worldly creature, other than I hope on stage.
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Contrary to the norm, as my technique improved my voice became higher.
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It is our responsibility to learn how to speak to an audience that is less informed about music, to give it a reason to want to come and see us instead of going to the movies.
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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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