84 Renée Fleming Quotes on Lives, The Inner Voice: The Making of a Singer and 2012 - Quotes.pub

Here you will find all the famous Renée Fleming quotes. There are more than 84 quotes in our Renée Fleming quotes collection. We have collected all of them and made stunning Renée Fleming wallpapers & posters out of those quotes. You can use this wallpapers & posters on mobile, desktop, print and frame them or share them on the various social media platforms. You can download the quotes images in various different sizes for free. In the below list you can find quotes in various categories like Lives, The Inner Voice: The Making of a Singer and 2012

I want to keep my voice young, with nothing heavy.

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.

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.

I listen to archival and historic recordings. I love watching singers. I learned a lot from watching videos.

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.

My parents discussed singing every night over the dinner table; I had a tremendous music education.

For my own singing, I used to be attracted by the baroque, the flashier the better, but now I prefer a simpler, purer style.

Having to travel so much plays havoc with your personal life.

A lot of performers don’t want to leave the circuit, the European opera house circuit, partly because most singers don’t sing many concerts, or at least not while they are in their prime.

I’m American. I’m eclectic. I’m going to follow my musical passions. And if people don’t like it, and it hurts my legacy, I’m not going to worry about that.

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.

I’m reserved, so I’ve always needed to find a way of opening up. Jazz helped me do that.

Certainly, jazz has become more of a niche, which is surprising, because it’s our music. It’s the national music of America.

Contrary to the norm, as my technique improved my voice became higher.

I don’t want to record anything unless it can be great and genuinely interesting.

I have not changed with the accomplishments. I’ve remained the same. If I had changed, great. You know, but I haven’t.

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.

For a while it was hard for me to say no to work.

I want to get out of the major opera houses.

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.

Being steeped in the process of learning and exploring keeps me from becoming too nervous. Partly it’s about not getting bored.

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.

I don’t like to sing loud.

There’s no performance where I never have to think about setting up a phrase or making a technical adjustment while I’m performing.

I haven’t really been able to transfer into that extraordinarily other worldly creature, other than I hope on stage.

I enjoy the more floaty, exposed, elegant singing.

I’ve always been inspired by artists who have shown musical and intellectual curiosity and the courage to take risks.

I’m not a reactionary.

I think singing it when its done well is extremely natural. It feels great.

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.

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.

I’m not exactly an angry young person.

With classical singing you have to put out so much air – you project, you emit force.

I am so envious of my colleagues from 100 years ago who only sang new works, they hardly ever sang revivals.

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.

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.

Every singer eventually gets around to a Christmas disc.

My whole career I played these girls sort of 18 to 23.

I was always a very good student.

An interpretation exists because of what we find between the notes.

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.

A lot of bad behavior in singers is caused by nerves.

Very few opera singers in history have been able to cross into popular music.

I have a certain image that’s more classic, and I’m happy to stay out of the fray.

Because everything about the voice interests me, I felt it would be fascinating to learn a completely different style of singing.

I think singing is one of the most natural things that human beings do, but it’s difficult.

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

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.

If I have to hold a note for a long time, I imagine it as moving and spinning, for the note has to have life. In a way, a singer actually refreshes a note with every beat that it’s held.

When a human being without amplification makes a sound that is high and loud, it is almost unworldly.

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