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I was constantly being pushed toward a European ideal of what it means to be a classical or opera singer, let's say in the Renata Tebaldi mode. I reject that.

Renee Fleming

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Renee Fleming
Age: 65
Born: 1959
Born: February 14
Musician
Opera Singer
Indiana
Pennsylvania
Renee Fleming
European
Singers
Mode
Ideal
Pushed
Ideals
Reject
Constantly
Classical
Toward
Rejects
Means
Singer
Mean
Opera

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I'm lucky - I can do two things at once.
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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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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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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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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 want to get out of the major opera houses.
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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'm reserved, so I've always needed to find a way of opening up. Jazz helped me do that.
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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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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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My whole career I played these girls sort of 18 to 23.
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I enjoy the more floaty, exposed, elegant singing.
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The first thing I did when I made a little bit of money as a singer was to buy myself an amber necklace. This is often the way we put together our lives, adding the striking qualities of others into our own character.
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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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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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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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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 don't want to record anything unless it can be great and genuinely interesting.
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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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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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