Renee Fleming
Renee Fleming
Renée Flemingis an American opera singer and soprano whose repertoire encompasses Richard Strauss, Mozart, Handel, bel canto, lieder, French opera and chansons, jazz and indie rock. Fleming has a full lyric soprano voice. She has performed coloratura, lyric, and lighter spinto soprano operatic roles in Italian, German, French, Czech, and Russian, aside from her native English. She also speaks fluent German and French, along with limited Italian. Her signature roles include Countess Almaviva in Mozart's Le nozze di Figaro, Desdemona...
NationalityAmerican
ProfessionOpera Singer
Date of Birth14 February 1959
CountryUnited States of America
Well, any time I'm preparing for a performance or even a rehearsal, it's 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.
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.
While it's a fact that a voice begins with natural talent, any talent must be nurtured, cajoled, wrestled with pampered, challenged, and, at every turn, examined.
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.
You finally have to learn to pull all the different kinds of teaching and training and coaching together on you own, so that your voice and body and technique for a sound that is consistent and solid.
Because everything about the voice interests me, I felt it would be fascinating to learn a completely different style of singing.
Contrary to the norm, as my technique improved my voice became higher.
The reason that some singers go on to become great artists has very little to do with their voices, but rather with the fact that they have used their instruments as tools for detailed communication.
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.
No voice teacher can be all things to all people. You have to gain information from whatever sources you can. You have to listen.
I want to keep my voice young, with nothing heavy.
Learning operatic roles is ongoing, and I find that I can learn on the train or subway, during a manicure, getting my hair done, and even while driving if I only look at the score at red lights.
He coached and prepared me for a 'Rosenkavalier' scenes program,
Some of my first teachers were incredibly tough. You could never sing more than three words without being stopped and having to do it over 20 times. I loved that - that sort of process of dissecting and trying to figure out and master this incredibly mysterious instrument.