Table of Contents
Title Page
Dedication
Copyright Page
Acknowledgements
Introduction
CHAPTER ONE - FAMILY
CHAPTER TWO - EDUCATION
CHAPTER THREE - APPRENTICESHIP
CHAPTER FOUR - MENTORS
CHAPTER FIVE - SUCCESS
CHAPTER SIX - CHALLENGE
CHAPTER SEVEN - BUSINESS
CHAPTER EIGHT - LONGEVITY
CHAPTER NINE - IMAGE
CHAPTER TEN - PERFORMANCE
CHAPTER ELEVEN - ROLES
CHAPTER TWELVE - BACKSTAGE
CHAPTER THIRTEEN - CODA
Praise for The Inner Voice
“With plain spoken honesty and a wealth of technical detail made reader-friendly, Fleming has fashioned a manual that should be required reading for all young singers.”
—Boston Herald
“Fleming’s book is not only an indispensable asset to those who want to know her better, it’s also a huge asset to aspiring young singers.”
—The Seattle Times
“The tone of her writing is as elegant as the tone of her voice.”
—The Baltimore Sun
“Renée Fleming writes almost as well as she sings. . . . [A] revealing account of how an opera career is launched and sustained. Fleming is particularly good at describing the physical demands and mental challenges of making beautiful sounds while at the same time trying to act. . . . Illuminating.”
—The Charlotte Observer
“Beautifully written, elegantly told.”
—Pittsburgh Post-Gazette
“As decorous as the author herself . . . Renée Fleming continues to make much of her great gifts.”
—Terry Teachout, Commentary Magazine
“Fascinating”
—Women’s Wear Daily
“[A] candid account . . . A realistic portrait of what it takes to succeed and a volume intriguing for its advice and honesty.”
—Publishers Weekly
“Her perceptive account of what it takes to become and continue to be a great performer will resonate with all those who dream big. . . . A beguiling self-portrait of a great artist at work.”
—Kirkus Reviews
PENGUIN BOOKS
THE INNER VOICE
Renée Fleming’s vocal artistry is acclaimed worldwide as “the gold standard of soprano sound.” An international artist for more than a decade, she is recognized for her compelling artistry, beautiful sound, and interpretive talents. A sought-after performer onstage and in recordings, she has won two Grammys and has been nominated eight times for the award.
To Amelia and Sage, who give me reason to sing
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First published in the United States of America by Viking Penguin,
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Published in Penguin Books 2005
Copyright © Renée Fleming, 2004 All rights reserved
eISBN : 978-1-101-09888-2
1. Fleming, Renée. 2. Sopranos—Biography. I. Title.
ML420.F565A
Photograph, copyright Jacques Moatti.
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Acknowledgments
WITH THANKS TO:
Ann Patchett, whose silent work on paper is the equal of the most colorful songbird. I would never have had the courage to undertake this project without her friendship and help.
Richard Kot, my editor: patient, kind, and, fortunately, enormously knowledgeable about opera. His hieroglyphic attention touched every paragraph in this book.
Darrell Panethiere, my ever positive muse, inspiration, dear friend, and consultant on all things musical. I was your dependent for the length of this project.
Mary Lou Falcone, who has advised me every step of the way and in all things. You gave me the courage to be honest.
Alec Treuhaft, who made this possible and who convinced me that I had something to say right now.
Evans Mirageas, for solving my existential dilemma during a long afternoon in Köln with the complete history of recorded sound and the voice in twentieth-century culture.
Christopher Roberts, president of Universal Classics and Jazz, in whose crystal ball and fearless leadership I implicitly trust.
My family and especially my sister, Rachelle, for a lifetime of love.
Alison Heather and Mary Camilleri, for their daily support, patience, and humor.
At Viking: Patrick Dillon and Bruce Giffords, for their meticulous attention to every line in this book; Herb Thornby and Francesca Belanger, for their elegant jacket and interior designs; and Alessandra Lusardi, for managing very complicated traffic.
The following friends and colleagues, who helped me in the final stages with their thoughtful comments: Matthew Epstein, John A. Fallon, Ann Gottlieb, Mary Jo Heath, Matthew Horner, Pat Kingsley, John Pascoe, Costa Pilavachi, Jacob Rothschild, Sue Schardt, Dr. David Slavit, Ann and Bill Ziff.
Introduction
I AM NO STRANGER to having my luggage searched. Like any other international traveler, I have spent a good portion of my life waiting in customs lines while people I did not know rifled through my musical scores and peered inside my shoes. But the dogs were something new. I wasn’t in the airport, after all, but in my dressing room, waiting to rehearse Tchaikovsky in St. Petersburg, and the bomb-sniffing dogs had come in to make sure that I wasn’t a terrorist disguised as an opera singer. German shepherds shoved their muzzles into my purse and nosed between the gowns hanging in the closet. They sniffed at the makeup, the wigs, and the piano and then looked back at me with heavy skepticism, making me feel vaguely guilty.
I had come to St. Petersburg to take part in a gala performance, a beautiful evening filled with music and dance. I was the only non-Russian who would perform for fifty heads of state for the three-hundredth anniversary celebration of the city, and I was to sing Tatyana’s letter scene from Eugene Onegin on the stage of the historic Maryinsky Theatre. During the nineteenth century, this elegant theater had been home to the Russian Imperial Opera, founded by Catherine the Great in 1783. It had seen the world premieres of such landmark Russian operas as Boris Godunov, Prince Igor, and The Queen of Spades, and Verdi’s La Forza del Destino
had been written for the house. The world-renowned ballet of the Maryinsky Theatre had premiered Sleeping Beauty, The Nutcracker, and La Bayadère all on this stage, and in the orchestra pit had stood Berlioz, Wagner, Mahler, Schoenberg, and, most important of all to me today, Tchaikovsky, conducting their masterpieces. I took a deep breath. This wasn’t the first time history had weighed heavily on my shoulders.
I had never been to St. Petersburg before, and many people had warned me about the dangers there. I was told to watch out for the mafia, potential kidnappings, hotel robberies, and at the very least a mugging, but my information was clearly outdated. Everyone was helpful, and the whole place wore an air of elegance. I found the city beautiful, with its splendid baroque palaces and neoclassical facades set out like a series of pastel cakes along the wide boulevards. The cathedrals, the canals, every street and sidewalk were groomed for the anniversary. The sea itself seemed to have a polished glow, and the government had even sprayed the clouds to keep it from raining during the visit of President George W. Bush, Tony Blair, Jacques Chirac, Gerhard Schröder, Junichiro Koizumi, and other world leaders. It was the city’s finest hour, but, unfortunately, it wasn’t mine: my translator and guide was a fourteen-year-old girl who lived only for AC/DC, Alice Cooper, and basketball, and my hotel room had no window. When I say “no window,” I don’t mean that I had a bad view—I mean that I had, quite literally, no window. When I was told that there were no other rooms available, I pulled out my Valery Gergiev trump card and said I would have to call him about getting another hotel. There are many ways in which a soprano relies upon the guidance of a conductor, and not all of them are confined to the stage. As a result of dropping the most powerful name in Russian music today, I got a window and a view.
Some aspects of the performance turned out unimaginably well: I was given a beautiful nightgown and robe from a production of La Traviata to wear, and they fit me perfectly. Other things didn’t go quite so smoothly. There were no plans to block the performance, and I was simply instructed, “Do it the way you did it last time.” But I hadn’t sung the role for years and couldn’t remember where I had been standing on some other stage with a different set. The famous Maryinsky Theatre was an impossible maze of back passageways that all seemed to lead nowhere. I could have used the assistance of one of those bomb-sniffing dogs to find my way from my dressing room to the stage—a feeling that perfectly mirrored the hopelessness I felt inside the Russian language.
Though my German and French are fluent, and my Italian, taxi-, restaurant-, and opera-interview-proficient, my Russian beyond nyet and da is nil. I had learned the role of Tatyana by rote years earlier when I first sang it in Dallas, and of all the heroines I’ve sung, she is the one I feel most closely aligned to: “Let me perish, but first let me summon, in dazzling hope, a bliss as yet unknown.” Even if I didn’t speak the language, it was still my responsibility to find a way to sound as authentic as a national, especially since I was singing the most beloved soprano aria in the Russian repertoire to a house full of Russians. This requires, first, not only memorizing the words, but taking apart every sentence in order to understand how each word is translated. It also involves a painstaking study of their exact pronunciation and inflection. I pay close attention to how words end, whether the vowels are open or closed, which consonants are doubled. Many of the most challenging sounds for a singer are in the Russian language, and it takes a great deal of time and patience to learn how to make them seem authentic.
Once that’s in place, the subsequent task of learning the role comes along much more quickly. When performing an opera, I have to memorize not only my own text, but the text of everyone around me onstage, so that I’m ultimately involved in a dialogue, as opposed to simply staring blankly at my colleagues while they make unintelligible sounds. I’ve devised many tricks over the years to help with memorization, and although it seems obvious, the most important one is learning to connect the words with their meanings. Ten minutes of concentrated memorization with a full understanding of what I’m saying is worth hours of mindless repetition. Using alphabetization, alliteration, onomatopoeia, and rhyming, especially in languages like Russian and Czech, and having a visual memory of the music on the page are also essential. I do anything I can come up with to grind the text into the gray matter between my ears. Interestingly enough, the more difficult the etching, the longer it lasts. Six years after learning a role as complex as Tatyana may find me mumbling the confrontation scene with Onegin while waiting in line at the post office, despite the sideways glances of other customers.
Of course, I was hardly the first American soprano to find herself in this position. Our national tradition of pressing ahead and assuming everything will work out in the end dates all the way back to Lillian Nordica, formerly Lillian Norton of Farmington, Maine. She must have been the first true American superstar on the international scene. When she came to the Imperial Opera in St. Petersburg in 1880, she was twenty-two years old and had virtually no career behind her, but the Maryinsky engaged her to sing a dozen leading roles in the 1880-1881 season alone. A dozen roles at twenty-two. Comparatively speaking, I had nothing to worry about.
For this performance, I was coached in Russian by Irina, a smartly dressed and professional musical presence in the theater. Valery Gergiev has single-handedly built up the reputation of the Kirov Opera until it has achieved a towering international position, often keeping his artists employed through more lucrative Western tours. Russia is a society that recognizes artistic potential in children from a very early age, and it has consequently produced not only talented performers but a people with a deep and intelligent appreciation for the arts.
Which only made me all the more nervous about Tatyana. Her letter scene is fourteen minutes long and extremely wordy, and I suddenly wished I could trade my program with the Maryinsky’s leading soprano, who was to perform Glinka’s Vocalise instead. Singing “Ah,” after all, is foolproof! I decided the only way to get through this was to steel my mind and not allow doubts to flood in. Of course, this was nothing compared with the first time I sang the role in 1992 when my daughter, Amelia, was two months old, and uninterrupted sleep was a distant dream. Memorizing between her birth and the premiere had been agonizing, and I felt vindicated when I read years later that pregnancy and a sound memory are mutually exclusive. Now I willed myself to think only of Tatyana and her letter, to forget that this event would be televised around the world and that Vladimir Putin himself would be seated directly in front of me, judging my pronunciation. All I had to do was put on my nightgown and robe, step out onto a stage without any blocking, and begin to sing in a language I didn’t understand.
It’s impossible, at moments like these, not to stop and wonder how I got there. How does a girl from Churchville, New York, come to be asked to represent her country at a major international musical event, standing on the stage of a theater filled with dignitaries? The answer is unnervingly simple: it all comes down to two little pieces of cartilage in my throat. Those vocal cords—delicate, mysterious, slightly unpredictable—have taken me to unimaginable places. I have slept at the White House after staying up until two in the morning talking music with the Clintons and the Blairs. I have sung for Václav Havel at the end of his presidency and sat beside him at dinner for four hours afterward while he spoke of his life.
Apart from the moments of celebration and commemoration, I have performed at more solemn occasions. I have sung “Amazing Grace” at a ceremony at Ground Zero, only a few months after the attacks of September 11, with nine thousand people crushed into a space that was impossibly small for them, filling up the streets, pressing against one another shoulder-to-shoulder in every direction until they became one single life of sorrow. In the week leading up to that event, I had sung that song again and again, trying to imprint it into the muscle memory of my throat so that when the time came to perform it, I would be able to get through to the end without crying. I remember a young girl who was sitting at the f
ront of the crowd with her family on the day of the ceremony. She was about sixteen years old, and I had no idea whom she had lost, but among the obviously grief-stricken people who carried photographs and signs and wept, her expression seemed utterly empty. Her eyes were dry. It was as if she had lost her own soul when those buildings went down, and when I started to sing I had to look at the sky or I knew I’d never be able to maintain my composure.
Given the fact that most classical musicians are not household names or faces recognizable from television, it’s interesting to speculate about why people so often turn to a classically trained musician, and most often a singer, in times of national conflict or grief. Why choose a soprano to represent our collective emotional experience, rather than a familiar singer from the world of popular music who has sold millions of records? Why turn to a far lesser-known voice whose music is appreciated by a smaller audience? I think the answer lies in two places. First, the tradition of music grounds us and connects us to one another through a sort of universal appreciation that transcends taste, particularly in such songs as “Amazing Grace” and “God Bless America.” Second, a trained voice has a kind of innate authority that transmits a sense of strength. We can be heard without a microphone. 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. The word “classic” has come to be applied to so many things in our culture—cars, rock music, a particular episode of a television show—when in its truest sense it carries the weight of something that has been distilled over time and represents the highest quality in a given field. The music we sing has been loved in many past generations and will continue to flourish and find life and love in the future.
The Inner Voice: The Making of a Singer Page 1
