# Renee Fleming- legendary or not?



## Albert7 (Nov 16, 2014)

For me, she is a true ambassador of opera for America... and she sings better than Beverly Sills to me.

A legend already for me.  Bravo Fleming.


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## nina foresti (Mar 11, 2014)

I don't think I would call her a legend but she is certainly at the top.
Legends are hard to come by.


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## Loge (Oct 30, 2014)

For my shame, as a Brit she sang the most beautiful version of Rule Britania.






She sounded like a legendary soprano from early 19th century opera.


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## hpowders (Dec 23, 2013)

I've never cared for Renée Fleming's singing, though I will admit I find her to be extemely attractive.

Hey, Renée! I'm in the book. Call me!!


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## Bellinilover (Jul 24, 2013)

One of her greatest performances, I believe:


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## Albert7 (Nov 16, 2014)

hpowders said:


> I've never cared for Renée Fleming's singing, though I will admit I find her to be extemely attractive.
> 
> Hey, Renée! I'm in the book. Call me!!


Sorry I can't help. She is divorced I think.


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## Seattleoperafan (Mar 24, 2013)

I saw her live in recital. She was the most glamorous woman I've ever seen live. Really beautiful voice and a distinctive sound. I would not put her in the same class as Price or Sills or Nilsson, but she is damn good.


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## Bellinilover (Jul 24, 2013)

Seattleoperafan said:


> I saw her live in recital. She was the most glamorous woman I've ever seen live. Really beautiful voice and a distinctive sound. I would not put her in the same class as Price or Sills or Nilsson, but she is damn good.


Actually, I've always thought she sounds a lot like Price, though I'd venture to say her voice isn't as powerful. Did Fleming's strike you as a "big" voice when you heard it live?


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## Albert7 (Nov 16, 2014)

A good talk with her in this clip:


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## Pugg (Aug 8, 2014)

Seattleoperafan said:


> I saw her live in recital. She was the most glamorous woman I've ever seen live. Really beautiful voice and a distinctive sound. .


To compare her with others is a bit silly , Sills had a very different voice, so are Price and Nilsson. 
Fleming, is Fleming , stunning in every way.
I've seen and heard her several times it's a pleasure, I tell you:tiphat:


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## Albert7 (Nov 16, 2014)

Pugg said:


> To compare her with others is a bit silly , Sills had a very different voice, so are Price and Nilsson.
> Fleming, is Fleming , stunning in every way.
> I've seen and heard her several times it's a pleasure, I tell you:tiphat:


Good points indeed. I really feel bad that I missed listening her live as she is soon going to retire. But she continues to host the Met DVD broadcasts and she's so good on those.


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## Seattleoperafan (Mar 24, 2013)

Bellinilover said:


> Actually, I've always thought she sounds a lot like Price, though I'd venture to say her voice isn't as powerful. Did Fleming's strike you as a "big" voice when you heard it live?


I heard her with an orchestra. Her voice was not Sutherland big but she sang with a full orchestra and I had no trouble hearing her and she had some large high notes in the A5 B5 area. The voice was smaller on the Eb's above the staff. There is a husky quality to her voice that reminds one of Price. I think she was wise to avoid Norma and the heavy Verdi heroines. I would liken her voice to Kiri Te Kanawa's in size and beauty and creamy sound as well as repertoire. I've heard both Price and Fleming, but Price I only heard in recital with a piano in her later years so I can't attest to the size of her voice. I got the impression that Price was a lyrico spinto in the middle and upper middle part of her voice but it thinned out at the top, even though the top was radiantly beautiful. Just more of a lyric sound up there.


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## Tsaraslondon (Nov 7, 2013)

I'd agree that a better point of comparison in terms of sound and size of voice would be Te Kanawa. I also think Fleming is best suited to Mozart and Strauss. I've never had much time for her in Italian opera.

I actually have very close experience of Fleming as I worked with her, when she sang in a semi-staged production of Previn's *A Streetcar Named Desire* with the LSO at the Barbican. I played the small speaking role of the Doctor who takes her away to the mental asylum, and also played one of Stanley's cronies and one of the ghosts of her army lovers. She was extremely gracious, an intelligent woman, and a thoughtful artist. I remember chatting backstage to her one evening about how much she was enjoying revisiting the role of Blanche, and about how much more she had discovered in it this time round.

I've probably been as close to the voice as anybody could be, as she draped herself over me (I was the semi-naked figure of one of her army lover ghosts at the time). The voice was unbelievably beautiful and rich, with no hint of unsteadiness or impurity, and she had no problem whatsoever projecting over a large orchestra. Still I'd call her a lyric soprano.

I have a lot of her recordings, but I do have a problem with her stylistically sometimes. Her _portamenti_ often sound more like jazzy slides, and are just wrong for the music she is singing (particularly in Bellini and Verdi). On the other hand her Rusalka in the Mackerras set is absolutely gorgeous, as is her Thais.

Of her recital discs, I wouldn't want to be without,




























And there are some treasurable performances on










Though not the Italian arias.

Legendary? Well that remains to be seen. I'm sure she will enter the pantheon of greats once she retires.


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## BalalaikaBoy (Sep 25, 2014)

*a wonderful singer:* yes. rich, creamy tone, smooth legato and a fantastic lower register (her upper extension is impressive, but it's relatively colorless and boring compared to the middle and lower registers). she is also remarkably versatile (her Dark Hope album, where she sings a number of contemporary pieces, is wonderful and shows off her colorful, mezzo lower register more than most of the operatic pieces she sings)
*legendary:* no. while she is a fine singer, her voice lacks the _charisma_ of a legendary opera singer. it's pleasant to listen to for sure, but it doesn't push you back in your seat like "whoaaaa!" the way Flagstad, Sutherland, Corelli, Milnes and, of course, Callas were capable of. if there is any opera singer around today I would consider legendary, it would be *Samuel Ramey* for sure.

either way, I have to agree that Beverly Sills is not the best comparison. Anna Moffo, Elisabeth Schwarzkopf or even Virginia Zeani would have been more appropriate comparisons.


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## Couac Addict (Oct 16, 2013)

Name-dropping is never cool but when am I ever going to get another opportunity? Also, there aren't many social circles where anyone outside of opera would care.

I've met Fleming [insert faux rapturous applause here]. We were 'the band' for one of her records.
I'd love to tell some story about what a mean, egotistical diva she is but she was too damn nice during her time with us.
Very professional as one might expect but also very friendly. She chatted with everyone during the breaks etc. 
If you didn't know who she was, you'd just assume she was part of the orchestra.

So there it is. Possibly the most boring story in opera but sometimes it's nice to know that there are artists out there who let their work do the talking (which I believe is the majority but they're too boring for the media  ).


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## Headphone Hermit (Jan 8, 2014)

GregMitchell said:


> she draped herself over me (I was the semi-naked figure of one of her army lover ghosts at the time).
> 
> Legendary? Well that remains to be seen.


Legendary?  Well, surely that *is* the stuff of legends for her to be draped over the legendary Greg M? :lol:


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## Tsaraslondon (Nov 7, 2013)

Headphone Hermit said:


> Legendary?  Well, surely that *is* the stuff of legends for her to be draped over the legendary Greg M? :lol:


ha ha ha. What *do* you mean? :lol:


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## Cavaradossi (Aug 2, 2012)

BalalaikaBoy said:


> while she is a fine singer, her voice lacks the _charisma_ of a legendary opera singer. it's pleasant to listen to for sure, but it doesn't push you back in your seat like "whoaaaa!"


I've seen her in recital as well as in several roles live. No, it's not a voice that pushes you back in your seat, but it doesn't need to be. It's more a voice that makes you sit up a take notice and then draws you in.


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## Headphone Hermit (Jan 8, 2014)

GregMitchell said:


> ha ha ha. What *do* you mean? :lol:


you _might_ look innocent in that avatar, but *we* know better - hahaha!


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## Seattleoperafan (Mar 24, 2013)

Opera News was saying the voice is in decline and has lost it's umph, but it couldn't have been more than 2 or 3 years ago when I heard her live in recital with The Seattle Symphony and she sounded amazing! I can't think of a soprano today I would rather go hear, but I'd prefer to go back and hear Price or Milanov in their prime over Fleming. It is a really beautiful, individualistic voice and such a beautiful singer. I'm not surprised that she is nice to her colleagues.


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## Albert7 (Nov 16, 2014)

Seattleoperafan said:


> Opera News was saying the voice is in decline and has lost it's umph, but it couldn't have been more than 2 or 3 years ago when I heard her live in recital with The Seattle Symphony and she sounded amazing! I can't think of a soprano today I would rather go hear, but I'd prefer to go back and hear Price or Milanov in their prime over Fleming. It is a really beautiful, individualistic voice and such a beautiful singer. I'm not surprised that she is nice to her colleagues.


Another reason why I don't use Opera News as the benchmark for my listening.

Fleming's Rusalka is still the benchmark for that role on CD btw.


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## BalalaikaBoy (Sep 25, 2014)

Cavaradossi said:


> I've seen her in recital as well as in several roles live. No, it's not a voice that pushes you back in your seat, but it doesn't need to be. It's more a voice that makes you sit up a take notice and then draws you in.


and that's all it needs to be, just not to be _legendary_. what I most respect about Fleming is her degree of _balance_. she has a lovely voice, is a fine singer, chooses her roles wisely (maybe not all of them sound the best, but she has been smart enough not to damage her voice at least), is extremely disciplined/consistent, has decent acting ability and manages to learn new roles, expand to non-classical genres, perform all over the world and be a good mother to her children all with a relaxed, down to earth demeanor. she is a world class example of work/life balance, stress management and how to achieve amazing heights while still staying sane.


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## Woodduck (Mar 17, 2014)

BalalaikaBoy said:


> and that's all it needs to be, just not to be _legendary_. what I most respect about Fleming is her degree of _balance_. she has a lovely voice, is a fine singer, chooses her roles wisely (maybe not all of them sound the best, but she has been smart enough not to damage her voice at least), is extremely disciplined/consistent, has decent acting ability and manages to learn new roles, expand to non-classical genres, perform all over the world and be a good mother to her children all with a relaxed, down to earth demeanor. she is a world class example of work/life balance, stress management and how to achieve amazing heights while still staying sane.


And I suspect all the above means more to her than being a "legend."


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## Albert7 (Nov 16, 2014)

BalalaikaBoy said:


> and that's all it needs to be, just not to be _legendary_. what I most respect about Fleming is her degree of _balance_. she has a lovely voice, is a fine singer, chooses her roles wisely (maybe not all of them sound the best, but she has been smart enough not to damage her voice at least), is extremely disciplined/consistent, has decent acting ability and manages to learn new roles, expand to non-classical genres, perform all over the world and be a good mother to her children all with a relaxed, down to earth demeanor. she is a world class example of work/life balance, stress management and how to achieve amazing heights while still staying sane.


And you summed her up very nicely. I approve very well .


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## starthrower (Dec 11, 2010)

I would like to hear her Ravel/ Messiaen/Dutilleux CD. I've never listened to her before, but I liked her in that home interview. She was cool, and very intelligent. She's the girl who made it big down the road there in Rochester, NY.


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## Pugg (Aug 8, 2014)

starthrower said:


> I would like to hear her Ravel/ Messiaen/Dutilleux CD. I've never listened to her before, but I liked her in that home interview. She was cool, and very intelligent. She's the girl who made it big down the road there in Rochester, NY.


Your missing out :_ Big time _


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## starthrower (Dec 11, 2010)

She has a deep voice for a soprano. Especially when singing pop material. She sounds like a black woman on that album with Bill Frisell.


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## BalalaikaBoy (Sep 25, 2014)

Woodduck said:


> And I suspect all the above means more to her than being a "legend."


precisely (grrr, stupid character count)


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## BalalaikaBoy (Sep 25, 2014)

starthrower said:


> She has a deep voice for a soprano. Especially when singing pop material. She sounds like a black woman on that album with Bill Frisell.


yes! her high notes bore me, but I heard her on the radio once and thought "wow! who is this wonderful black contralto?". then it finishes and I heard "that was Renee Fleming singing a piece from Porgy and Bess" and I was like


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## Posie (Aug 18, 2013)

Is longevity a factor in what makes a singer legendary? If so, time may tell.


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## Tsaraslondon (Nov 7, 2013)

Posie said:


> Is longevity a factor in what makes a singer legendary? If so, time may tell.


When it comes to career length obviously not. Callas's career was short, so was Muzio's. Wunderlich died at the age of 35.


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## hpowders (Dec 23, 2013)

Posie said:


> Is longevity a factor in what makes a singer legendary? If so, time may tell.


Kathleen Ferrier died at only 41 and she is truly a legend. Longevity? Not so much.


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## starthrower (Dec 11, 2010)

Fleming already has longevity. She's a 55 year old singer performing the world's most demanding music.


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## Albert7 (Nov 16, 2014)

starthrower said:


> Fleming already has longevity. She's a 55 year old singer performing the world's most demanding music.


After her Christmas album last year, I am super super curious what her recording output is going to veer to next. No Wagner I believe but perhaps we can get some more bel canto like Donizetti?


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## Tsaraslondon (Nov 7, 2013)

Albert7 said:


> After her Christmas album last year, I am super super curious what her recording output is going to veer to next. No Wagner I believe but perhaps we can get some more bel canto like Donizetti?


I'd actually rather hear her as Elsa or Elisabeth than in Donizetti. She's already recorded a _Bel Canto_ recital disc, and I don't like it at all.

if the Russian items on her _Hommage_ recital disc are anything to go by, I wouldn't mind hearing her in some more Russian opera, and why not another disc of excerpts from American and English opera? She sings a superb _Embroidery Aria_ on the _Great Operatic Scenes_ recital.


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## Albert7 (Nov 16, 2014)

GregMitchell said:


> I'd actually rather hear her as Elsa or Elisabeth than in Donizetti. She's already recorded a _Bel Canto_ recital disc, and I don't like it at all.
> 
> if the Russian items on her _Hommage_ recital disc are anything to go by, I wouldn't mind hearing her in some more Russian opera, and why not another disc of excerpts from American and English opera? She sings a superb _Embroidery Aria_ on the _Great Operatic Scenes_ recital.


actually let me revise my statements. Maybe she needs to go in the direction of more art songs... that would I die to hear!


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## Albert7 (Nov 16, 2014)

Albert7 said:


> actually let me revise my statements. Maybe she needs to go in the direction of more art songs... that would I die to hear!


And I should be specific... I would give Fleming some stuff I would like to hear.

Schumann songs
Schubert songs
(she done two versions of Four Last Songs but why not another third version in 10 years?)
and maybe some more American lieder honestly (no Broadway once again)... maybe commissions

Those would be a good place for her to start... explore some standard favorites she hasn't touched...

oh and Wolf's lieder too perhaps before I forget.


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## Woodduck (Mar 17, 2014)

I'd actually rather hear her as Elsa or Elisabeth than in Donizetti. She's already recorded a Bel Canto recital disc, and I don't like it at all.
If the Russian items on her Hommage recital disc are anything to go by, I wouldn't mind hearing her in some more Russian opera, and why not another disc of excerpts from American and English opera? She sings a superb Embroidery Aria on the Great Operatic Scenes recital.

Maybe she needs to go in the direction of more art songs... 

My thoughts exactly. No more Bellini please. A fine Strauss soprano, as she is, could handle some lighter Wagner, including the _Wesendonck Lieder_. Her Russian sounds good to my ear, and the Rachmaninoff songs on her "Night Songs" recital are really ravishing. I'd like to see a full disc of Rachmaninoff.


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## Albert7 (Nov 16, 2014)

Woodduck said:


> I'd actually rather hear her as Elsa or Elisabeth than in Donizetti. She's already recorded a Bel Canto recital disc, and I don't like it at all.
> If the Russian items on her Hommage recital disc are anything to go by, I wouldn't mind hearing her in some more Russian opera, and why not another disc of excerpts from American and English opera? She sings a superb Embroidery Aria on the Great Operatic Scenes recital.
> 
> Maybe she needs to go in the direction of more art songs...
> ...


Good point... I also wonder whether she could ever touch Pierrot Lunaire too while we are at it.


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## MoonlightSonata (Mar 29, 2014)

I haven't heard many of Fleming's recordings, but the ones I have heard sound very good.


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## Woodduck (Mar 17, 2014)

Albert7 said:


> Good point... I also wonder whether she could ever touch Pierrot Lunaire too while we are at it.


Should be a piece of cake for her. She could probably do a lot more 20th-century classical, as she's already done 20th-century pop. Come to think of it, she did once harbor some ambition to be a jazz singer, and has done it from time to time. As she ages and loses her top notes, she'll probably also become huskier lower down and even better at jazz.

Wouldn't she be pleased to know we have her future all planned?


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## Albert7 (Nov 16, 2014)

Woodduck said:


> Should be a piece of cake for her. She could probably do a lot more 20th-century classical, as she's already done 20th-century pop. Come to think of it, she did once harbor some ambition to be a jazz singer, and has done it from time to time. As she ages and loses her top notes, she'll probably also become huskier lower down and even better at jazz.
> 
> Wouldn't she be pleased to know we have her future all planned?


Indeed... honestly if I were Dr. Who I would bring back Bill Evans, a full blown orchestra, and Renee Fleming and then we would have aural bliss.


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## BalalaikaBoy (Sep 25, 2014)

GregMitchell said:


> I'd actually rather hear her as Elsa or Elisabeth than in Donizetti. She's already recorded a _Bel Canto_ recital disc, and I don't like it at all.
> 
> if the Russian items on her _Hommage_ recital disc are anything to go by, I wouldn't mind hearing her in some more Russian opera, and why not another disc of excerpts from American and English opera? She sings a superb _Embroidery Aria_ on the _Great Operatic Scenes_ recital.


agreed. I think bel canto is a bit overdone in modern opera in general. everyone wants to sing the same repertoire popularized by greats like Sutherland, Callas, etc, but so few have the technique or the flexibility for it (and if they do have the flexibility, seldom is there enough weight to accompany it). in my opinion, certain roles have vocal demands such that they should only be performed by very specific voices. that we have so many sopranos scrambling to sing Norma is just.....no. granted, I don't mind singers getting their feet wet with bel canto, but one of the reasons why my favorite singers tend to be from 40-70 years ago (like most people here) is that singers stuck to their strengths and specialized more in styles which better suited their voices and personalities. 
PS: that being said, I realize this is an unfair expectation in today's era. with appreciate of opera a fraction of what it was 40 years ago, that kind of specialization is no longer possible from a business perspective.


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## Woodduck (Mar 17, 2014)

BalalaikaBoy said:


> agreed. I think bel canto is a bit overdone in modern opera in general. everyone wants to sing the same repertoire popularized by greats like Sutherland, Callas, etc, but so few have the technique or the flexibility for it (and if they do have the flexibility, seldom is there enough weight to accompany it). in my opinion, certain roles have vocal demands such that they should only be performed by very specific voices. that we have so many sopranos scrambling to sing Norma is just.....no. granted, I don't mind singers getting their feet wet with bel canto, but one of the reasons why my favorite singers tend to be from 40-70 years ago (like most people here) is that singers stuck to their strengths and specialized more in styles which better suited their voices and personalities.
> PS: that being said, I realize this is an unfair expectation in today's era. with appreciate of opera a fraction of what it was 40 years ago, that kind of specialization is no longer possible from a business perspective.


Part of our problem now is the scarcity of voices for certain repertoire, specifically spinto/dramatic voices. Our only options are to cast unsuitable singers or to leave a large number of great operas collecting dust on the shelf. For example, in 1910 the world was crawling with great Verdi baritones - Battistini, Amato, Scotti, Ruffo, Galeffi, Ancona, Stracciari, etc. - and even as late as the '50s we had the likes of Warren, Merrill, Gobbi, MacNeil...


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## Lord Lance (Nov 4, 2013)

Albert7 said:


> Indeed... honestly if I were Dr. Who I would bring back Bill Evans, a full blown orchestra, and Renee Fleming and then we would have aural bliss.


*THE DOCTOR*. _Not _Dr. Who.


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## BalalaikaBoy (Sep 25, 2014)

Woodduck said:


> Part of our problem now is the scarcity of voices for certain repertoire, specifically spinto/dramatic voices. Our only options are to cast unsuitable singers or to leave a large number of great operas collecting dust on the shelf. For example, in 1910 the world was crawling with great Verdi baritones - Battistini, Amato, Scotti, Ruffo, Galeffi, Ancona, Stracciari, etc. - and even as late as the '50s we had the likes of Warren, Merrill, Gobbi, MacNeil...


I'm beginning to think this is for two reasons
1) the average age of current opera singers is 27 (at least, that's what they told me back in vocal performance school several years ago). for the most part, dramatic voices are later bloomers, and not generally ready for Verdi until mid 30s and even later for Wagner. 
2) people do not know how to train big voices like they used to. Dolora Zajick talks about this in detail


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## Woodduck (Mar 17, 2014)

BalalaikaBoy said:


> I'm beginning to think this is for two reasons
> 1) the average age of current opera singers is 27 (at least, that's what they told me back in vocal performance school several years ago). for the most part, dramatic voices are later bloomers, and not generally ready for Verdi until mid 30s and even later for Wagner.
> 2) people do not know how to train big voices like they used to. Dolora Zajick talks about this in detail


I think reason #2 is more pertinent than #1. Plenty of the great singers of the past started quite early, although it is true that many big voices do mature with age. But I'm convinced that something has happened to training and vocal pedagogy. Look at that (partial) list of great Verdi baritones from 1910: they're Italian! Where are the Italians today? The "land of opera" is not giving us the singers it once did - as late as the mid-20th century - in any vocal category.


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## Albert7 (Nov 16, 2014)

Woodduck said:


> I think reason #2 is more pertinent than #1. Plenty of the great singers of the past started quite early, although it is true that many big voices do mature with age. But I'm convinced that something has happened to training and vocal pedagogy. Look at that (partial) list of great Verdi baritones from 1910: they're Italian! Where are the Italians today? The "land of opera" is not giving us the singers it once did - as late as the mid-20th century - in any vocal category.


Origin of country is not a necessity for whatever's composer's singing... In fact, what matters most is the individual singer's circumstances.


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## Retired (Feb 15, 2015)

> and that's all it needs to be, just not to be legendary. what I most respect about Fleming is her degree of balance. she has a lovely voice, is a fine singer, chooses her roles wisely (maybe not all of them sound the best, but she has been smart enough not to damage her voice at least), is extremely disciplined/consistent, has decent acting ability and manages to learn new roles, expand to non-classical genres, perform all over the world and be a good mother to her children all with a relaxed, down to earth demeanor. she is a world class example of work/life balance, stress management and how to achieve amazing heights while still staying sane.


How many legends have I performed with that knew a hotel room, the opera house and the airport better than their homes.
To balance all that makes her a greater artist in my opinion.

As far as voice teachers...when you are interviewed for such a job (assuming you get that far in the process), the main priority is how you are going to fill the seats...not if you can actually impart sound vocal practice. That's been going on for years...its about business. After you win your first major vocal competition, life speeds up and usually faster than it should. If you don't have the "chops" to survive the rush or the good sense to say no, you will be swept aside very quickly. My impression is that it is more a meat market than ever...and there is an endless supply. Sorry for the cynicism but having survived it, I watched a lot of wonderful talent wind up as chopped meat.


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## Albert7 (Nov 16, 2014)

Retired said:


> How many legends have I performed with that knew a hotel room, the opera house and the airport better than their homes.
> To balance all that makes her a greater artist in my opinion.
> 
> As far as voice teachers...when you are interviewed for such a job (assuming you get that far in the process), the main priority is how you are going to fill the seats...not if you can actually impart sound vocal practice. That's been going on for years...its about business. After you win your first major vocal competition, life speeds up and usually faster than it should. If you don't have the "chops" to survive the rush or the good sense to say no, you will be swept aside very quickly. My impression is that it is more a meat market than ever...and there is an endless supply. Sorry for the cynicism but having survived it, I watched a lot of wonderful talent wind up as chopped meat.


Indeed... looking at the previous winners of the Richard Tucker competition and seeing their careers about 5-10 years later on tells me that the attrition rate is pretty high here indeed.


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## Bellinilover (Jul 24, 2013)

*Balalakaiboy wote:*
l_egendary: no. while she is a fine singer, her voice lacks the charisma of a legendary opera singer. it's pleasant to listen to for sure, but it doesn't push you back in your seat like "whoaaaa!" the way Flagstad, Sutherland, Corelli, Milnes and, of course, Callas were capable of. if there is any opera singer around today I would consider legendary, it would be Samuel Ramey for sure._

I must say I disagree with this. For me Fleming is legendary precisely because her tone has the "charisma," the glamor, of a true opera star. In this I would contrast her with a soprano like Cheryl Studer, who was even more eclectic than Fleming and who was a very insightful interpreter but whose actual sound, while very attractive, lacks the charisma of Fleming's. I believe this can be appreciated by playing their performances of "Dove sono" from LE NOZZE DI FIGARO side by side. First Fleming, and then Studer:











Even so, it's just my impression. We all hear things differently.


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## Woodduck (Mar 17, 2014)

Bellinilover said:


> *Balalakaiboy wote:*
> l_egendary: no. while she is a fine singer, her voice lacks the charisma of a legendary opera singer. it's pleasant to listen to for sure, but it doesn't push you back in your seat like "whoaaaa!" the way Flagstad, Sutherland, Corelli, Milnes and, of course, Callas were capable of. if there is any opera singer around today I would consider legendary, it would be Samuel Ramey for sure._
> 
> I must say I disagree with this. For me Fleming is legendary precisely because her tone has the "charisma," the glamor, of a true opera star. In this I would contrast her with a soprano like Cheryl Studer, who was even more eclectic than Fleming and who was a very insightful interpreter but whose actual sound, while very attractive, lacks the charisma of Fleming's. I believe this can be appreciated by playing their performances of "Dove sono" from LE NOZZE DI FIGARO side by side. First Fleming, and then Studer:
> ...


I agree completely. Fleming has for my taste the most sensuously, creamily, dreamily beautiful soprano voice since, well, perhaps Kiri te Kanawa. She is also a highly intelligent performer who makes you listen to her. I do sometimes complain about her mannerisms, which can intrude in Italian opera, but she has been our best all-round soprano in the recent past and definitely "golden age" material.


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## undifelice (Mar 11, 2015)

I do think Fleming has attained legendary status, and has been a pretty prominent and effective musical ambassador for the US. I'm always interested in what she has to say about what's expected of singers today, and how she focuses on vocal hygiene and longevity in master classes. I think she's an intelligent, hard working woman with serious talent, and a lovely, down to earth human being. People's diva indeed. 

However, while I adore the glamour and beauty of her voice, her mannerisms/affectations drive me up the wall, as well as some of her wooden acting. That being said, her Marschallin is gorgeous; her different interpretations always captured the complex emotions of a woman faced with her own mortality and age. Strauss would have loved Nene.


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## undifelice (Mar 11, 2015)

Woodduck said:


> I agree completely. Fleming has for my taste the most sensuously, creamily, dreamily beautiful soprano voice since, well, perhaps Kiri te Kanawa. She is also a highly intelligent performer who makes you listen to her. I do sometimes complain about her mannerisms, which can intrude in Italian opera, but she has been our best all-round soprano in the recent past and definitely "golden age" material.


Woodduck, Fleming's "Dove sono" *is the best*. I'll always be sad that she never performed Mozart for longer than she did. She seems to really excel in playing the woman, rather than the ingenue, with all of a woman's passions and anxieties and complexities.


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## Yashin (Jul 22, 2011)

A warm stage personality and voice. A top-notch singer who will leave a good recording legacy that many 'greats' would have been jealous of.


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