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The Inner Voice: The Making of a Singer
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Amazon.com Review
From Publishers Weekly Calling this candid account "the autobiography of my voice," soprano Fleming details the years of study it took to master the art of vocal production and the discipline that brought her international renown. A former manager deemed her "the single most ambitious singer he has ever known," and given the tenacity with which she faced early setbacks—"I have a noble history of being rejected from a lot of places," she writes—his comment is understandable. After her first big break in 1990 (as the Countess in Mozart's Le Nozze di Figaro with the Houston Grand Opera), Fleming's rise to the top was steady. But she's quick to point out that the life of an opera star is not always glitter and glamour; the business side of singing—scheduling performances, arranging interviews and recordings, choosing a repertoire and marketing herself—is arduous. Although Fleming offers glimpses into her personal life, touching on her failed marriage and her loving relationship with her two daughters and concluding with a chapter describing what she experiences backstage during a Metropolitan Opera production, this is not a deeply intimate autobiography full of childhood vignettes, personal anecdotes and behind-the-curtains gossip. Instead, it's a realistic portrait of what it takes to succeed and a volume intriguing for its advice and honesty. Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. Interview with Renee Fleming Renee Fleming speaks about recent projects, including The Inner Voice and her recent Handel CD, in our interview.
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From Publishers Weekly
Calling this candid account "the autobiography of my voice," soprano Fleming details the years of study it took to master the art of vocal production and the discipline that brought her international renown. A former manager deemed her "the single most ambitious singer he has ever known," and given the tenacity with which she faced early setbacks—"I have a noble history of being rejected from a lot of places," she writes—his comment is understandable. After her first big break in 1990 (as the Countess in Mozart's Le Nozze di Figaro with the Houston Grand Opera), Fleming's rise to the top was steady. But she's quick to point out that the life of an opera star is not always glitter and glamour; the business side of singing—scheduling performances, arranging interviews and recordings, choosing a repertoire and marketing herself—is arduous. Although Fleming offers glimpses into her personal life, touching on her failed marriage and her loving relationship with her two daughters and concluding with a chapter describing what she experiences backstage during a Metropolitan Opera production, this is not a deeply intimate autobiography full of childhood vignettes, personal anecdotes and behind-the-curtains gossip. Instead, it's a realistic portrait of what it takes to succeed and a volume intriguing for its advice and honesty. Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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Product details
Hardcover: 240 pages
Publisher: Viking Adult (November 4, 2004)
Language: English
ISBN-10: 0670033510
ISBN-13: 978-0670033515
Product Dimensions:
6.3 x 0.9 x 9.3 inches
Shipping Weight: 7.2 ounces (View shipping rates and policies)
Average Customer Review:
4.8 out of 5 stars
92 customer reviews
Amazon Best Sellers Rank:
#817,922 in Books (See Top 100 in Books)
Fleming's "......Making of a singer" should, and probably will be required reading for students in every music department, school and conservatory everywhere. It is a masterclass for any musician, not just singers' , and a life lesson for anyone else. For fans of Fleming the soprano there are many insights into the woman, not just the diva. Readers will find themselves wanting to take notes. If the intricate details of vocal production are beyond some readers' understanding, they serve as vivid reminders that no great vocal artist simply takes a breath and lets loose a glorious torrent of magical sound. Fleming's writing introduces fans to the "Working Mother" who takes audiences on her magic carpet on stage and jots down her grocery list in her dressing room. Brava Fleming !
I am a big fan of Renee Fleming and probably have all or most of her recordings. I can't believe I missed this book all these years. I received a copy that has been signed by her in excellent condition. It is such a pleasure to read, not only because I love her voice, her personality and her elegant self, but because I am about the same age as she and we have similar tastes and backgrounds. This autobiography is highly recommended and I hope to see a larger volume with photos in the near future. Thank you Ms. Fleming for all the joy you bring with your singing.
As a lyric soprano and aspiring opera singer myself, I have continually found this book inspiring and encouraging. Ms. Fleming candidly looks at the world of an opera singer from many angles. She relates how she came to music, from her childhood as a daughter of musical parents, and charts how hard she had to work to get to the rarified world of the opera star she is today. She does not gloss over the work involved or the insecurities and problems she has faced. Her written voice is real and she gives great snippets of advice throughout the book. I find myself repeatedly going back to this book to learn, to laugh, and to be inspired to work hard to try and achieve my dreams. Thank you, Ms. Fleming for this wonderful helpful book.
Really good book with great views to how one should start taking the work serious. I'm just starting out and I never knew about the stuff she talks about in here, so it's really good to have these little clues, like applying for winter and summer programs, actually getting work and the struggle of trying to maintain a family while doing this kind of work, how important it is to have mentors, and the rest. Really good and motivating book. Not necessarily inspirational but the way she thinks makes me realize all I have to do is work and the rest will take care of itself.
Renée Fleming is generally acclaimed as the reigning operatic soprano of the day, enjoying a worldwide stature comparable to that afforded only a few divas of the past: e.g., Joan Sutherland, Maria Callas, Beverly Sills, et al. Renée Fleming's "The Inner Voice: The Making of a Singer", is a compelling autobiography that recounts Ms. Fleming's remarkable career as a "three-prong singer" who not only sings opera, but also sings recitals with piano and concerts with orchestras. Without glorifying herself, Ms. Fleming describes how she has achieved success via hard work, tenacity, resilience and luck. As Ms. Fleming states (of her memoir), "What I came up with in the end was not the story of my life, but the autobiography of my voice". Notwithstanding her enormous talent, extraordinary vocal abilities, stature as a world-class musician and opera star (and the associated rewards), Ms. Fleming candidly reveals her ongoing struggles to master her craft, and to combat various obstacles/challenges/failures encountered along the way: e.g., stage fright, rejection, panic attacks, isolation/loneliness, self-doubt, et al. Interestingly, this book is almost devoid of operatic gossip (i.e., the really `juicy stuff'); instead, it might be better described as a `How-To', and `Lessons Learned' manual that aims to mentor/instruct young aspiring operatic singers and help them to deal with challenges, and avoid some of the pitfalls encountered in the difficult and highly competitive world of opera.Ms. Fleming (today a divorced mother of two girls, Amelia and Sage) introduces the reader to her early family life, growing up in a suburb of Rochester, New York, with her parents, Edwin and Patricia, her younger sister, Rachelle, and her brother, Ted. Both of her parents were music teachers who enjoyed singing in the home. Music was an integral part of her public school education; educators understood, intuitively, that the discipline and joy of music fostered creativity in children, and provided a deepening and broadening experience in their lives.Although Ms. Fleming was accepted to Oberlin College (a top-flight conservatory), she was unable to attend due to insufficient financial aid. Instead, she ended up attending the Crane School of Music of the State University of New York, Potsdam. Ms. Fleming points out that this `disappointment' turned out to be the first great break of her career. At the Crane School of Music Ms. Fleming was taught by Patricia Misslin, a `no-nonsense' teacher who provided her with strict vocal training, putting a great deal of emphasis on resonance, focus, and `placing the voice'. Ms. Misslin taught her that a singer has different options for `placing the voice' (i.e., directing air combinations to different parts of the body, and thereby creating different sounds), including: (a) Head - This creates a light child-like sound; (b) Mouth - This creates a different sound; (c) Mask (nose and cheekbones) - This creates a nasal sound; (d) Chest - This creates a very low sound, like Sarah Vaughn. Ms. Misslin taught Ms. Fleming that an opera singer must typically maintain an enormous amount of focus in `the mask' so as to be able to project the voice to the back of the hall without strain. Ms. Misslin taught Ms. Fleming how to practice, and had a great influence on her regarding her repertoire. While at Potsdam, in addition to classical music, Ms. Fleming fell in love with jazz. While still a sophomore she auditioned for, and landed, a job as a big band singer. Singing with the band taught her how to let go of her fears, experiment vocally, and perform.After graduating from Potsdam, Ms. Fleming moved on to Eastman to study for a master's degree in music. At Eastman she had the opportunity to perform in many operatic roles. Ms. Fleming states, "And while I had some successes at Eastman, I had my share of dismal failures as well."---she failed her Met audition. But, fortunately, her parents had instilled in her the code of "Never Give Up." Ms. Fleming discusses her postgraduate apprenticeship at Julliard in a program called the American Opera Center, and a follow-up Fullbright grant in Germany where she learned to speak German fluently.Ms. Fleming pays homage to her mentors (e.g., Renata Scotto, Joan Sutherland, Marilyn Horne, Leontyne Price). She shares her experiences after attaining success, her major challenges (e.g., scheduling travelling, work/life balance, traveling with and raising two daughters, etc.), the business aspects of her career (e.g., bookings, interviews, cancellation policies, etc.), and ways to achieve longevity as an opera singer. Ms. Fleming emphasizes the importance of taking charge of one's image on stage, and shares her experience during actual performances before live audiences. She discusses how she prepares for new roles, and shares with the reader what typically goes on backstage during the preparation for a performance.I thoroughly enjoyed this wonderful memoir which took me on a remarkable journey through the eyes of an opera star and recitalist. Ms. Fleming's memoir is, indeed, a portrait of the artist at work. It is a moving story that is well-written, fascinating, vigorous, and fresh---I learned a lot. Ms. Fleming humanizes the `diva', debunking (in a lighthearted manner) many of the stereotypes often associated with the term `diva' (e.g., "prima donna"; "selfish"; "high maintenance"; "hugely demanding"; speak in high voices, à la Julia Child, in a "continental" nonaccent; etc.) by those who are unfamiliar with the world of opera. She exhibits a keen awareness of the connection between the past, present, and future---an understanding that the world of opera did not begin with her, nor is it likely to end with her. More specifically, Ms. Fleming states,"...there must be at least one note in my range that belonged to my grandmother, and certainly my mother's soprano and my father's deep love for new music have given much of the color and depth to my sound. Their voices are our inheritance, part of the amalgamation of who we are and what we have learned. We are unique, each human voice, not because we are completely self-generated, but because of how we choose to assemble the countless factors that made us. My voice carries in it the generations before me, generations of my family, of brilliant singers I have admired, of dear friends. It goes on in this book, not the sound of my singing but certainly the work and thought and passion of the discipline. Tiny slivers of my voice will be incorporated into a student I teach in a master class or into the young singer who listens carefully, just as little glimmers of Leontyne Price's shining high C and Dietrich Fischer-Dieskau's expansive breath came into me. If this is the past of my voice, then I must believe it is the future as well. My voice will go forward in the same way, not only through recordings but through my daughters and through their daughters and sons as far as the line will take us. It doesn't mean that everyone will be a singer, but that every one of us will find a passion in life to drive us ahead, and just maybe part of that passion will rest in the voice. People will hear it even in a word that is spoken: the wealth and wonder of all the music that came before."One of the main reasons why this memoir is so effective is that it is focused; Ms. Fleming does not `bite of more than she can chew'. In writing this memoir Ms. Fleming evidently followed the adage that it is better to do a `high quality' job on a focused topic, than to do a `mediocre' job on a topic that is too broad. I would highly recommend this book for aspiring opera singers, opera-buffs and, in general, anyone who has a deep appreciation for the arts.
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