Citas de Renee Fleming

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

  Renee Fleming

  Sound, Amplification, Loud

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• Fostering creativity in children is as important as any other part of the school curriculum because it feeds the soul. A daily dose of creativity helps children imagine a better world and then create it.

  Renee Fleming

  Children, Creativity, School

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.25, Penguin

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• 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.

  Renee Fleming

  Unique, Self, Voice

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.181, Penguin

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• 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.

  Renee Fleming

  Communication, Artist, Voice

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.151, Penguin

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

  Renee Fleming

  Notes, Interpretation

  "The Inner Voice: The Making of a Singer". Book by Renee Fleming, 2004.

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• Everybody's a work in progress. I'm a work in progress. I mean, I've never arrived. I'm still learning all the time.

  Renee Fleming

  Mean, Progress, Work In Progress

  "Biography/ Personal Quotes". www.imdb.com.

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• I don't want to be somebody who stands still and sings pretty. Each song is a world. Each song is a story. I don't achieve nearly what I want.

  Renee Fleming

  Song, Stories, World

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• 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.

  Renee Fleming

  Heart, Soul, Important

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.14, Penguin

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• Music enabled me as a fragile young person to give voice to emotions I could barely name, and how it enables me to give my voice the unique and mysterious power to speak to others.

  Renee Fleming

  Unique, Names, Voice

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.179, Penguin

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• I cannot imagine a more satisfying calling than my own: beauty, humanity, and history every day, combined with the cathartic joy of singing.

  Renee Fleming

  Joy, Humanity, Singing

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.179, Penguin

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• Someone once said that there are probably seven naturally good singing days in a year-and those are days you won't be booked. What we must learn is how to sing through all the other days.

  Renee Fleming

  Years, Singing, Seven

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.48, Penguin

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• 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.

  Renee Fleming

  Jobs, Confusing, Suggestions

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.57, Penguin

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• Tengo una noble historia de rechazo en muchos sitios, sólo para descubrir que el que finalmente me deja entrar es, de hecho, el que encaja a la perfección.

  Renee Fleming

  Perfect, Noble, Facts

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.40, Penguin

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• The more you put into it, the more you and the audience will get out of it.

  Renee Fleming

  Audiencia

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• So much can be gained from watching other singers, seeing what they do and what they don't do, seeing how they look when they breathe, how wide they open their mouths for a high note.

  Renee Fleming

  Looks, Mouths, Singers

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.66, Penguin

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• 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.

  Renee Fleming

  Responsibility, Giving, Want

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.117, Penguin

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

  Renee Fleming

  Thinking, Phrases, Performing

  "Biography/ Personal Quotes". www.imdb.com.

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• In a sense, it's less about seeing how high up I can vault than about seeing how deeply I can explore my potential...Ambition for me is about the willingness to work, the ability to mine my own soul fearlessly.

  Renee Fleming

  Ambition, Soul, Vaults

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• Perfection often creates such a flawless surface that there's no place for the audience to enter into a piece, while the idiosyncrasies of individual style are like windows into the singer's heart.

  Renee Fleming

  Heart, Perfection, Style

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.151, Penguin

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• Music was language in our house. It was air.....I feel certain that if I absorbed any lessons at all in the first months and years of my life, they must have been about the work that went into making a beautiful sound.

  Renee Fleming

  Beautiful, Air, Years

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• 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.

  Renee Fleming

  Opposites, Practice, Important

  Renee Fleming (2005). “The Inner Voice: The Making of a Singer”, p.56, Penguin

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

  Renee Fleming

  Interesting, Records, Want

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• In a way, being an opera singer is like being a very romantic sixteen-year-old who falls in love with great passion and conviction every month.

  Renee Fleming

  Falling In Love, Passion, Years

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

  Renee Fleming

  Years, New Work, Envious

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• Your brain has a music room, and evolution would not have gone to the trouble of designing that if it didn't have some benefits. So, that suggests to me that we and our ancestors have had music as a central part of our experience for eons. And we're just beginning to understand how that might be. I think that's fascinating.

  Renee Fleming

  Thinking, Design, Brain

  Fuente: www.npr.org

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