Renee Fleming’s new book: Selected quotes

Renee Fleming’s new book: Selected quotes

Opera

norman lebrecht

April 09, 2024

The soprano has a wellness book out today.

Here are some clips from contributors:

“If you ask a scientist why birds sing, the answer will deal in courtship and territory. But if you asked the bird, and if you could understand its reply, it would probably be something like, ‘Because I have to, and it feels so good.’” – Richard Powers, “The Parting Glass”

“I was trying to stretch and discovered I couldn’t move. I started to cry and went to John and said, ‘I can’t go on.’” – Rosanne Cash, “Rabbit Hole”

“The early morning Wabanaki ceremony welcoming the sun was more than an encounter in a beautiful setting; it was an act of culture, a renewal of tradition, an acknowledgment of humanity’s place in nature, and a message of hope.” – Yo-Yo Ma, “Nature, Culture, and Healing”

“Imagine a world in which music and the visual arts, dance and movement, theater and storytelling, architecture and design, and many other art modalities are as common in the clinical arsenal as drugs and surgery.” – Susan Magsamen and Ruth Katz, “Blueprint for Cultivating the Field of Neuroarts”

“What possible survival benefit could musical behaviors have had for human ancestors, such that natural (or sexual) selection made musicality part of our evolved psychology?” – Aniruddh D. Patel, “Musicality, Evolution, and Animal Responses to Music”

“Theater, like the medical profession, explores the mystery of life and of death. Americans do not want to face death.” – Anna Deavere Smith, “Healing Arts”

“Slowly, the part of my brain that was studying music was overtaken by the part of my heart that felt it. I was moved by a scene, and later an aria, and sometimes a single note.” – Ann Patchett, “How to Fall in Love with Opera”

“Things start to appear. There seemed to be a crossing with no sign… And then, walking toward me was an elderly dervish…The man asked me my name and asked if I was lost.” – Zakir Hussain, “Music and Mysticism”

“Modern architecture and medicine are bound together in an endless battle against illness.” – Liz Diller, “Porous Density”

“Playing in prisons, there’s often this false idea that the musicians are offering a priceless gift to the poor incarcerated communities and that the energy only flows one way. This is never, ever true.” – Rhiannon Giddens, “How Music Shows Us What It Means to Be Human”

“John volunteered to go first, an unusual act for him. He said that his painting was called the Heart of Darkness and that it represented his heart. He then explained…‘My heart doesn’t have arteries, it is completely disconnected. Like me.’.” – Juliet L. King and Anjan Chatterjee, “Art Therapy, Psychology, and Neuroscience: A Timely Convergence”

Comments

  • Tiredofitall says:

    Good God. Look to past artists to see how to secure a legacy and not to hang on to celebrity by your fingernails. Ms. Fleming continues to diminish her career accomplishments with her extracurricular endeavors.

    • Truth Hurts says:

      Comments such as yours help me keep my sanity. Fleming is the most overrated singer of our time, maybe of all-time. She has a powerful PR/money machine behind her. And the American public [but not the European one] has bought into it for decades. Conductors, coaches and directors realize this, but obviously would never trash a colleague publicly. Conductors have had to tolerate her schlepping and self-indulgent elephantaisis of tempo. And her incorrect vocal technique is contaminating another generation of young singers who listen to her masterclasses, instead of becoming aware of the truly great singers. Such a joke.

      • Mikhail Hallak says:

        Dear “Truth hurts”, your “truth” is certainly not universal, and your “sanity” seems to depend on the comment on an unknown person….
        Just curious as to your comment on “incorrect vocal technique”, can you elaborate and explain?

        • Truth Hurts says:

          She’s from the sing-in-your-mouth school of technique.
          She tries to make her sound interesting or colorful in the same way so many mezzos darken and sing too far back. Listen to Nilsson or Björling for placement and clarity of sound. Of course there are others. Fleming is basically a nice CD headshot but nothing more. All marketing. Marketing. Marketing. Wake up and stop lowering artistic standards.

    • John Humphreys says:

      Paderewski became Prime Minister of Poland. Still remained the most successful (and wealthiest) musician in the world.

  • David A. Boxwell says:

    “So little? So little, you say. Why, if it’s nothing else, it’s applause. It’s like waves of love coming across the footlights wrapping you up. Imagine, to know every night different hundreds of people love you. Their eyes shine. You please them. They want you. You belong. Just that alone is worth anything.”

    • Ich bin Ereignis says:

      I had to google your quote, as at first I thought it might be a joke, but now I can see where the reference is coming from. There are indeed artists suffering from the delusion that “waves of love” are indeed coming from the audience, perhaps unaware that love should be a much more private, much more selective and meaningful emotion that is not meant to happen on a massive scale.

      On the other hand, Fischer-Dieskau too wrote a book, but it was a comparative study of Wagner and Nietzsche — not quite as marketable.

      • Truth Hurts says:

        Fischer-Dieskau was a Titan. Fleming is a fraud. Audiences are so stupid. She’s been on a self-indulgent delusional ego trip for decades. That’s some PR-money machine behind her. Wow!

    • Truth Hurts says:

      She’s such a fraud.

  • Mozart Wept. says:

    Please let us know when the toilet paper version is available.

  • Sally says:

    For a soprano that gives me the ick, this is going to be an uncomfortable read.

  • Jonathan says:

    Reading the comments on slipped disc is enough to destabilise any musician’s mental health! What exactly is the point of publishing these ‘contributions’ to her book out of context?

    • norman lebrecht says:

      They are as she published them.

    • Truth Hurts says:

      The ‘point’ is to tell the truth and to educate the ignorant public who buys into her fraudulent legacy. Enough already. So overrated.

      • Jonathan says:

        But she didn’t write anything that was posted above. So in what way does this post have anything to do with her ‘fraudulent legacy’ ?

    • Una says:

      What she released herself as a taster, not Norman!! Think I’ll pass and just enjoy the loud noisey jackdaws sitting down my chimney bawling their heads off and disturbing my cats sleep, rather than ask them why!!! Hahahaha!

  • Salvame says:

    Have to think that the dismissiveness and sour disapproval here are from ignorance of the book, since no detail except the excerpted quotes is supplied. I just got the ebook. It’s an anthology of essays by leading scientists, music therapists, artists, and institutional leaders about the latest research and experience of the impact of arts engagement and arts therapies on health. How editing and publishing such a collection could diminish anyone’s legacy is a mystery, but pretentious commenters are always ready with a sneer at what they apparently don’t understand. Mozart might indeed weep to see someone blithely dismiss the work of dozens of brilliant people studying the arts we all claim to love dismissed as toilet paper, without the merest thought of engaging with the work.

    • V.Lind says:

      Agreed. Some of the quoted comments warrant serious consideration. Music does not exist on some separate plane. Its very existence is a result of, and a means of, interaction with humanity and its concerns.

      The condescension some of these posts demonstrate is almost repulsive.

      • Clare46 says:

        Lind —

        Wrong.

        There is something noble and heroic in our lonely experience of music. Listening to music is an isolated and lonely encounter with another world, a disembodied world of beautiful sound, far from the world of human life.

        In my view, seeing music as a human product, as people playing instruments, achieving goals, and as historically and politically situated, is all a misunderstanding and devaluation of the awesome elevation that musical experience can be.

    • Tristan says:

      don’t take those idiots here seriously as long as they are woke….its just a comedy this app nothing more – they cannot accept that Renee Fleming was an amazing artist, beautiful, successful and what a voice on top plus she is a wonderful human being like hardly anyone here commenting

      • Truth Hurts says:

        She’s a boring performer with a non-extraordinary voice. All marketing. Nothing unusual about her talent. She drags every tempo, sounds lethargic and under-energized. Years from now people will look back and realize she was unremarkable.

  • Kingfisher says:

    Tom Service needs her on his new show!

  • Margaret W. Housen says:

    Music is one of our greatest gifts and by and large, it’s mostly free. The human voice is the most beautiful instrument on any stage and the human voice can also be the most hurtful. We should pay attention to not only what we say but our tone in how we speak.

  • Alto clef says:

    Bring on the Dowland.

    Is there a quote from Oprah?

  • zandonai says:

    Fleming is really pushing her musical & arts therapy agenda. Let’s all send the repeat criminal offenders in SF and Oakland to music therapy rehab and see what happens.

    Either that or try BLASTING opera music in malls, bus stops, and convenience stores to keep the riff-raff away. It’s actually been proven to work!

    • Truth Hurts says:

      She’s pushing it because her ego can’t accept that she is no longer a singer and is getting old. The phrase about waves of applause is sickening in its pathetic egocentricity. Domingo reinvented himself as a fraud-baritone so as to stay in the limelight. Perhaps Fleming could remarket as a bass and sing Boris Godunov.

  • zandonai says:

    I wish more classical artists would write fun, entertaining books that people actually want to read… like Gerald Moore’s “Am I Too Loud” and Rudolf Bing’s “5000 Nights at the Opera”

  • Micaelo Cassetti says:

    No comment!!

  • not.a.fan says:

    She always sounded like Ms. Piggy to me. Or someone who swallowed their larynx and trying to regurgitate it back out.

    • Mikhail Hallak says:

      It is fabulous to read the hate and the ignorance that inhabit many commentators.
      Here is a thing though for you all, kind souls and educated critics: why don’t you write under your real names.

      Ms Fleming never hid, she had the courage of stepping on stage for the whole world to see.

      Why can’t you do the same? have conviction in your thoughts, words, expertise and appear publicly to share with us?

    • Truth Hurts says:

      Thank God for people such as yourself who realize and state the truth! Fleming is a vocal fraud. Audiences are so stupid. And to think she gives masterclasses?!

      • Barry Bowman says:

        I don’t know why you feel you must use this forum to bash the efforts of Ms. Fleming, who has accomplished much that is of value in the arts, whether you like her technique or not. Please tell me how you became such a well-respected and expert vocal critic. Yes, she likes slow tempi. Is that sufficient reason to crucify her? She had brought more joy to others in her career than you have, I’ll wager. Why don’t you try applying the quote, “If you can’t say something nice, don’t say anything at all.” Personally, I’d rather hear an aria sung at a slow tempo by someone who has the breath control to do so, than to hear someone rush through an aria at breakneck speed just because they can.

    • zandonai says:

      well, due to her jazz training, she tends to sing opera like it’s jazz especially in later years from 2010 on. That’s intolerable to many opera purists.

  • Liz says:

    Well, the world is full of haters and vitriol, that’s for sure …

  • Gabriel Parra Blessing says:

    Can’t help but be reminded of Maya Angelou’s “I Know Why the Caged Bird Sings.” No, no you don’t you arrogant, delusional nincompoop. Informed speculation I can take. Sentimental claptrap regurgitated in the service of kitsch I recoil from. It’s mind-boggling how someone who’s interpreted some of the greatest music ever composed failed to develop even a rudimentary sense of taste. Not his biggest fan but I much rather side with Toscanini’s “It’s not-a Hitler, it’s not-a Mussolini, it’s allegro con brio!” than this cringe-worthy drivel.

    • Salvame says:

      “Arrogant, delusional nincompoop”- this is what is known as projection. Has this commenter even registered that the quote he references is not by Fleming? I hope whoever reads this to Gabriel takes a moment to explain the concept of an anthology. Oh, wait, Gabriel styles himself a writer! So he is objecting to Fleming’s taste in including an essay by Pulitzer and National Book Award winning novelist Richard Powers? From a couple of lines out of context, to sum up a superior writer’s beautiful (I just read it- maybe try that before trashing it) essay as “sentimental claptrap” seems the very essense of arrogance and delusion. We’ll wait for your Pulitzer, Gabe. In the meantime, perhaps you have some notes for the neuroscientists and researchers in the book, including the guy who mapped the human genome and provided the foreword.

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