The Inner Voice: The Making of a Singer

by Renée Fleming

The fascinating personal story of one of the most celebrated talents in today’s music scene

The star of the Metropolitan Opera's recent revival of Dvorak's Rusalka, soprano Renée Fleming brings a consummately beautiful voice, striking interpretive talents, and compelling artistry to bear on performances that have captivated audiences in opera houses and recital halls throughout the world. In The Inner Voice—a book that is the story of her own artistic development and the “autobiography” of her voice—this great performer presents a unique and privileged look at the making of a singer and offers hard-won, practical advice to aspiring performance artists everywhere. From her youth as the child of two singing teachers through her years at Juilliard, from her struggles to establish her career to her international success, The Inner Voice is a luminous, articulate, and candid self-portrait of a contemporary artist—and the most revelatory examination yet of the performing life.

Genres: Music, Nonfiction, Biography, Memoir, Biography Memoir, Autobiography, College

240 pages, Paperback

First published January 1, 2004

Reviews

[Sher · Rating 5 out of 5]

The further I got into this book the more I liked it. It's the story of Renee Fleming's career and the story of the development of her voice. Along the way we learn about her challenges and the difficulties reaching the top. Classical singers will find this book fascinating, and , really Fleming wrote this book for up and coming singers. It's filled so much helpful detail that will help an aspiring singer. Also, if you enjoy opera , Fleming gives you the insider view into costumes, scheduling, and bind the scenes at the Metropolitan Opera House. I'm leaving out so much from this review including Fleming's terrific sense of humor -- if you like opera and classical voice, this is a very satisfying read. She's a very good writer too.

[Bridget Carroll · Rating 5 out of 5]

One of the most brutally honest books on singing that I have ever read. Ms. Fleming opens up to the world the ecstasies and pain of life as a professional singer. Intermixed with details of her career are technical instructions, artistic explanations, and valuable professional lessons. Both the singer and the listener will benefit from the inspiration and insight she shares. A quick read, but an important one.

[David · Rating 3 out of 5]

This book came to me as a gift from a friend who knows about my love for singing and particular passion for opera. I had passed it over when it was first published back in 2004 because I was pretty sure it would be a self-marketing tool masquerading as true autobiography. I was right and wrong: It is both things, but definitely much more candid and forthcoming than I anticipated.

There is a very heavy emphasis on vocal mechanics, the physiology of singing, and how an operatic voice is developed over time. For readers who are also singers - with some personal experience of training and a history of performance - this will be far more interesting than to non-singing fans of the soprano. Ms. Fleming is devoted to passing along her extensive knowledge and the "tips" behind her unique artistry. This comprises at least half of the story. While there are interesting personal details scattered throughout the book, this is not a salacious, gossipy tell-all. That isn't how this very earnest and ambitious diva rolls.

I already knew a lot about this author because I have seen her in live performance (San Francisco's "Louise" in 1999, The Met's "Otello" in 1995, several in-person recitals, and a handful of telecasts). We also share several mutual acquaintances and it was unexpectedly great fun to see four of them pop up here. On that basis alone I am convinced this is a very honest portrayal of Fleming's persona and the opera industry.

What I did not know prior to reading "The Inner Voice" is how much nervous anxiety and insecurity this legendary singer has to continually negotiate in order to perform well. She has learned to master this (mostly) through extensive technical work, by surrounding herself with trusted supporters, and through obsessively controlling every element of her personal and professional life. It was extremely difficult to read about this and it will not be encouraging to all budding operatic talents. However it was also quite touching to see it all so openly discussed, and I have much greater empathy and respect for Renee Fleming than ever before. She has earned her stardom and international fame.

[Olga · Rating 5 out of 5]

It's the book I've been hoping for every time I picked up a singer's autobiography and discovered mayhem, intrigue, and heartbreak instead. I have thoroughly enjoyed the detailed descriptions of every workshop Miss Fleming has taken and every teacher she has had and every tiny little detail she has learnt from those people. I felt very anxious about her high register in Chapter 2 and I was relieved to find out by Chapter 12 that she was now in perfect control of the technique and could describe it so finely and accurately that I could just see the muscles in her throat and chest in my mind. I love how she goes into mundane, but precious detail of choosing concert dresses, and the Backstage chapter is pure poetry. Now I am going to download all of her recordings on Apple Music and put the sound to muscle work descriptions. A perfect, perfect book!

[Loesje · Rating 5 out of 5]

I loved the book! Although I think it is easier to love it, when one is a singer by one self.

[Ulla · Rating 5 out of 5]

Being a huge Renee Fleming fan, I enjoyed reading her "The Making of a Singer". There's a lot of "technical" advice to aspiring singers about which I really don't have a clue but there's enough about her personal feelings, fears, joys and love of music that made this book a great reading experience.

[Emma Puscalau · Rating 5 out of 5]

The ultimate memoir!!!

I CANT DESCRIBED how much I empathized and connected to everything about Renee’s story and how she came to be one of the most memorable sopranos of all time.

I firstly loved all her effort and organization on how her life and career played out through her life and the strength she had to just keep going despite so many hardships and issues he had early on in her development. To be honest I almost felt pity for her that she never won any classical voice competitions till she was in her later twenties and she really did start late on societal standards with opera but yet she prevailed and she did everything she could to make it her life and her career. I admire that so much and I have been a fan of hers my entire life. Even at 78 currently she is still so active as a teacher and still had a very prosperous career so late In life. For decades she built up something that truly gave her a place as one of the best singers of all time and everyone just assumes the journey is simple but it’s not.

When she talked about wanting to melt into the stage and just die there some days my heart truly broke because the life of an artist is so difficult and many times people are telling you to stop and give it up but you can’t because it’s a part of who you are to be an artist and to express yourself. Hearing her personal struggles was so relatable and honestly it was nice to know that even the big names struggle like the rest of us. You work through that hardship and despite all the casting directors telling you you don’t sing well enough or scoff as you exit you swallow it better overtime and it doesn’t discourage you from
Trying again until you get it.

She sums up an artists difficult journey very well and talks about the pain many others don’t touch on. It’s important for others to know and she did not shy away from the struggle of life. In fact she embraced it and used it in her work which made her such an Impeccable stage presence aside from having a glorious voice. It’s about reaching people and showing emotions that are real. It’s about going through the worst pain of réjection and then having to step on a stage and sing a very difficult German Aria. I hope someday I share the same stamina. It is something she really teaches in this book about growing constantly but also being kind to yourself and being the authentic artist you are. She learned from all sorts of people and I feel like I have become
Aware of so many things I never even thought of before.

I found myself crying at three different points of this book and they were :

- when she talked about how she felt like she would never make and it everyone dismissed her
- when she divorced her first husband
- when her voice teacher passed away

She had so much loss in her life yet it didn’t stop her from going forward and inspiring others younger to do the same.

She reminded me why I love singing and doing what I do which I think is so special. Everything is discussed and everything is covered about what it means to be a singer but at the end of the day you leave the book feeling emotional and inspired to keep going.

[Simona · Rating 5 out of 5]

What I loved about this book is that it was honest from head to toe. I didn't get the muffin sprinkle on top - no added literary sugar, as they now say. Perfect example of a great memoir than one will most likely quote. I felt like Flemming invited me to a cafè, we made the casual interlude with the whole weather chatting thing, when suddenly time warped, the direction of our conversation changed and I felt extremely engaged in what she had to say. Many things resonated within me. It's a great read.

[CJ A-Wood · Rating 5 out of 5]

I have always been a big fan of La Fleming. Reading her story gave me great inspiration and hope. She’s THAT famous and went through some vocal trial and tribulations us “regular” (non-famous) professional singers go through. She is a very giving artist and I am proud that she shared her stories of her career. *I think there should also be a sequel of her late-career accomplishments.

[Bekki · Rating 3 out of 5]

First order of business - get over the cheesy title.

The first half of this book is better than the second - I don't know if I feel this way because the first half of the book simply describes the phases I have already experienced.

It seems that she begins by using anecdotes interspersed with thoughts and advice, and when she comes nearer to her current situation she begins to blur the distinction between experience and advice. We lose a bit of the sense of time that we had at the beginning of the book.

One of the reasons this book is so valuable is because she doesn't glorify the singer's life. This book inspired me but also made me reconsider the implications of pursuing a career in opera.

[Hannah Green · Rating 5 out of 5]

I've never experienced such a familiar approach to music- making and life as a musician. I wouldn't dare say I expect my life to turn out like Renee Fleming's, (nor would I necessarily want that) but moments of reading this book felt like my older self talking to me. And she didn't even win the Met Auditions until she was 29, so. Despite being uplifting and inspiring throughout, there was nothing saccharine or naive about the book which I so appreciate. Would recommend to any musician or artist who wasn't the prodigy stand-out.

[Owen · Rating 5 out of 5]

"We are unique, each human voice, not because we are completely self-generated, but because of how we choose to assemble the countless factors that made us."

LOVED this book. It was well-written, and the stories were both entertaining and inspiring.

[Calvyn]

How to gain an appreciation for the singers who seeming-effortlessly appear on stage, leading glamorous and charmed lives? Read Renee Fleming's "The Making of a Singer."

Renee Fleming begins with her family; her student life and shyness and focus on grades and people-pleasing; her lifelong appreciation of music, but without the "I must be an opera singer" lifelong calling. Ms. Fleming calls herself to excel, to master, to understand, to problem-solve, and finds herself fortunate to have mentors and teachers who can guide her voice and her career. She writes of people and places, and appreciates relationships that helped her become. She explains
the voice, its anatomy/physiology, training, care, sound source, breath source -- and its challenges. She shares the studying, the mastery of language and music, the quest for how a role has been presented, might be presented, the motivation, working with recordings and movies and conductor and cast and others who have sung the role--questioning, understanding. She speaks of prefessionalism and collegiality on stage, and among sopranos. Accepting roles at opera houses, she allows that smaller venues closer to home reward her professionally while allow flexibility to build in family time. She ensures her children have the most special place in her life, making time always for them. Always.

She writes with intelligence and humor, for the lay person or the opera afficinado. Her dedication shines through.

And humility, with appreciation for the history of her profession, those who have come before:

(Backstage, at 201/202)
The stage door to the met is in the parking garage, where we all eventually file through. I'm lucky tohave a driver...I usually try to arrive anywhere from an hour and a half to two hours before curtain to get ready, for there are many aspects of the preparation of a role, including the physical transformation, getting my voice ready after aquiet day, and, most important, entering into the role mentally.
I greet the guards and make my way down a long cement hallway lined with lockers, as I head for the dressing-room area. for all the gorgeous chandeliers and gilt boxes in the front of the house, this part of the house is low-ceilinged, lit with fluorescent bulbs, and decidedly unglamorous, though in a comforting and familiar way. The dark red carpet is worn, and the waiting area outside the dressing rooms is furnished with chairs and tables that must have come from a dentist's waiting room in the midfifties. From down the hall I can hear that other singers have arrived before me, for they are already vocalizing on scales and lines from the opera.

(at 210/212)
It is amazing to think almost every night a production involving so many intricate details comes together in a perfect performance. The curtain goes up; the lights some on. Although it is rare, things can go hugely wrong.... [and she describes them!]
********
Even though this is the penultimate performance of my second appearance in the role of Violetta, I still discover five or six new interpretive refinements in the first act.... Creativity is like a muscle---the more often you use it, the stronger it gets, and the more you come to rely on it, even unconsciously. I believe that everyone is creative, but we have to train ourselves to be so ina comfortable and confident way. If I exercise my creativity frequently, keeping it as limber as I do my voice, I'm much more likely to make discoveries and improve my performance. That's the real joy of performing: you do something for so long and with such discipline that it actually begins to look, and at times even feel, effortless.

[Anna · Rating 2 out of 5]

Initially I was intrigued by this book because of the author who wrote it. Being myself a singer I was eager to hear more about singing and vocal technique from one the of the most accomplished and greatest opera stars of our days.
Unfortunately I was left with impression that Renee wanted to appeal to every imaginable reader - from professional and amateur singers, to her fans, to some occasional readers in order to attract their attention to opera and her art. It may be a good idea to write book combining different genres but it didn’t happen with this case. Once I was focused on her telling about vocal technique she immediately jumps onto a different subject and starts to reminisce her teachers, or plays or whatever else. Such unstructured approach to storytelling left me disappointed, overall high and dry, among with its lack of proper genre focus and direction.
Also I was a bit disappointed that Renee adds a bit of snobbism to her telling about pop culture, pop singers. For example, she says that when it comes to some serious national occasions only opera singers are called to sing and their art is the only real art what seemed strange to me to hear it from the singer who ventured to record a jazz album and covers on popular tunes.
To summon everything this book is pretty strange. For someone who doesn’t sing to read about vocal resonators or breathing would be irrelevant and boring, for someone who wants to learn from Renee, this information is not enough and all her other mixed
stories only distract.

[Trenchologist · Rating 4 out of 5]

I do not sing. I have always enjoyed classical music--opera to a lesser degree--and often listened to a sorrowful contemporary album featuring her voice [which I cannot find atm nor cite its name, oy]. A friend who does sing had this on her shelves and it made for a wonderful subway-and-sunny-park-in-NYC read. As a writer (creative) I got a lot out of this. It's both nuts and bolts and ruminations on choice, career, process, success/failure, and achieving all of that.

It was so much more direct and forthcoming than I anticipated going in. I didn't think it'd be frothy gauzy reminisces, but I didn't expect how practical and honest it turned out to be in detailing her experiences in becoming, maintaining, and learning from being a classically trained singer. There's great behind the scenes stuff, and as I mentioned process, which was awesome because I am all about process. There's a very clear sense Fleming loves singing, and being a singer, but also knows well how to Be A Singer -- and those are qualities that do not always align.

I found myself reaching for a pen to write down some choice insights and blunt tactics for being creative and continuing to thrive in a creative field. As a writer, I had a lot to sympathize and relate to in this book.

[Ed Stock · Rating 3 out of 5]

This is a book that's hard to categorize: A memoir? An autobiography? A guide for aspiring singers?
Regardless of the category, it feels incomplete, and it might have benefitted from the guidance of a stern editor or a more demanding publisher who would ask for a bit more flesh on this rather bare bones look at a world renowned singer's life.
If you're not an opera aficionado or at least a fan of Renee Fleming, this book will probably have limited appeal. And unless you're a true connoisseur of opera a substantial portion of the book will be of virtually no interest: If you're not already familiar with the soprano roles in a wide range of operas, you might be hard pressed to find anything to relate to in the somewhat extensive descriptions of how Ms. Fleming interpreted or was inspired by those roles.
Still, much of the book is enjoyable and, if nothing else, I believe most readers will come away with a deep admiration for the dedication and love of Renee Fleming for her profession and her family.

[James Weske · Rating 4 out of 5]

The only difficulty in giving this book a stellar review is in what category to place it. It is part memoir, but mostly a memoir of her professional life. It is foremost a tutorial of singing, studying, embarking on a career in opera and sustaining a career in opera. While I am an appreciator of opera and the branding of opera singers as the Olympic athletes of vocal music, I cannot call myself an aficionado, having been a pop, jazz, country singer my entire life. That being said, I have an even greater appreciation of the art form. This is an incredibly well-written testament to an art form that, while still appreciated, has lost considerable weight in the industry over the past several decades. Any music aficionado should read this book and each and every singer, of any genre, should consider this required reading. Ms. Fleming walks you through the rigors of preserving and training a voice, the struggles and sacrifices of a life in the arts, the rigorous climb to success, the insecurity and even more rigorous struggle of maintaining success and even a blow by blow evening of every thought and preparation of an opera singer throughout the run of one Met performance. She is a gifted singer and performer, but also an incredibly gifted writer. Truly enjoyed this read.

[Jerry Knoll · Rating 4 out of 5]

On the cover of my edition of this book, Renee Fleming sits before a mirror, gazing at her reflection. I wondered about this choice, until finishing the book, when I realized that the book is her long, careful, analytical look at herself. As she says in the introduction: "What I came up with (when considering writing a book) was not the story of my life, but the autobiography of my voice." So, that's what this is, essentially. It's the story of her care and maintenance, training and exercising, pampering and creating with her instrument - her voice. Along the way we have glimpses of early life and education, as well as current trials and triumphs. Of special meaning to me are her insights into the characters she plays, the difficulties she faces with rolls in operas I've heard and have yet to hear. I took my son to see her in Der Rosenkavaliere at the Met in New York about 20 years ago, and I'll never forget it.

[Stacey OBrien · Rating 5 out of 5]

Wow! What a great book!

On top of a stellar career in opera she writes a deeply thoughtful and insightful book. This is a woman who has thought deeply about every aspect of her music, acting, art, her personal struggles, and is so open and generous in sharing it so beautifully with us.

Anyone who has made music their passion will be able to relate to this book, and those who have chosen a life in any of the arts, or who has taken a path in life that's different from what their friends did.
I'm going to read this book again and listen to the arias she talks about - especially the ones she struggled with.

If you've never been a musician, this book will take you deep inside a world you never dreamed existed - a way of living that's completely different from the kind of life you see around you.

I can't recommend this book highly enough!

[Donald Johnson · Rating 5 out of 5]

Renee Fleming set out to write the book she wished she could access when she was coming up as a singer, an "autobiography of a voice," or a sort of how-to manual of what it takes to be an opera singer. She succeeded in her project with a fascinating account that shows a remarkable attention to detail and a remarkable career (one that twenty years later is still going strong).

The book isn't one I would have sought out, but was a gift from my daughter who knew of my admiration for Renee Fleming's art. I was very pleased with the book and also with numerous insights Renee offered on life, training, excellence, and so many other topics throughout. She shows the fruit of a lifelong study of singing and music, especially how to develop and maintain a singing voice at peak artistry for many years.

[Katy · Rating 4 out of 5]

Absolutely fascinating account of the development of an opera singer. It is somewhat slow starting, but really picks up as Renee Fleming makes her way in an extremely competitive field. So much is involved that you wouldn't imagine besides the arduous training of the voice alone - acting lessons, dancing lessons, physical training (yoga, pilates) business and money management, scheduling and traveling, time management, family - Fleming covers all these things quite openly and with great self awareness and objectivity. This would be a fantastic read for all voice students aspiring to reach the heights of grand opera, plus there are stories about other "greats" whom she came to know along the way. I really enjoyed it.

[Martha · Rating 4 out of 5]

Inspiring reading as this incredible soprano takes you on her life journey of singing and shares what she has learned through hard work, attention to human anatomy (your voice isn’t something you can trade in or leave behind in the trunk of a cab—funny insights, too), and a focus on what makes the voice work they way you intend for it to. There’s so much to think about here—music education, music appreciation, and the nitty gritty of behind the scenes activity that makes a singer, including all of the doubts and moments of stage fright.

[Troy Farlow · Rating 5 out of 5]

Brilliant - am going to go see Renee Fleming at The Met or the NY Philharmonic in 2020 as soon as she has a show - of any sort! Brilliant, brilliant, brilliant read for anyone that is interested in singing and especially if one has a love for opera, music, the arts, etc. To paraphrase a line, she feels like it takes ten minutes to tell someone how to sing, but a decade to learn how to sing. Wow! (Or rather, Yowza!!!!!!!!!!)

Fantastic read...a fantastic and WONDERFUL career and life this woman has had - and still young!!!!

[Elizabeth · Rating 5 out of 5]

Even though I know nothing about the mechanics of singing, Renee Fleming's autobiography taught me so much about opera and how singers produce their amazing sounds that I'll appreciate opera even more now. Fleming was quick to give credit to all her teachers, coaches, colleagues, and friends who have helped her reach the stature that she held, as she finished this book in 2004. I'd love to know that she's writing a sequel to enlighten her admirers to what has happened to her in the past twenty years. Great book! Fleming is a class act!!1

[Hannah Brown · Rating 5 out of 5]

As an amateur opera lover and choral singer, I really enjoyed this book. I loved Ms. Fleming's stories and fascinating glimpses into the world of opera, but what really made me fall in love with her is her blunt honesty about the hard work and the not so glamorous parts of opera life. It feels as if she has invited you into her living room and told you her story. This book is a real treat for singers and opera fans alike.

[Marian · Rating 4 out of 5]

I really enjoyed this book! I learned a lot about Renee Fleming but also the career of an opera singer. I love how she walked through her training, the technical aspect of singing, managing her career and also Roles. She also described her vulnerabilities. Often we put opera singers on a pedestal. Renee Fleming showed that opera singers are people - with feelings and insecurities - just like we are.

[Roisin Bermingham]

Renee touches on the most important aspects and challenges of becoming a professional singer, and aptly uses her personal stories to convey this. Relevant topics (Affecting all levels) include imposter's syndrome, something which I struggle with in various aspects of life. It's helpful insight into the life and musical strategy (that can be conveyed to other life areas) of one of my favorite artists.

[Sandra Moulin]

I thoroughly enjoyed this book, although if you are not a musician or singer, it may have less appeal to you than to me. The author's style is easy to understand, even in the technical parts where she describes how she is taught to sing, and I enjoyed learning about her personal story as well as her professional journey. She is very genuine, and I believe it really shows what it takes to be a successful performer, especially an opera singer.

[Priscilla · Rating 5 out of 5]

Beautiful Book!

This book is one that I would reccomend to all singers-- professional or not!

As an experienced singer recognizing how fickle the voice can be, she shares stories and insights that are very validating to young singers struggling with the voice.
That people can sing at all, is a miracle.

This book will help one to appreciate singing, and give one a glimpse of all the details that go into the making of a world-class vocalist!

[Kirsten Krechel · Rating 5 out of 5]

Revisited this memoir as a way of finding different approaches, explanations, and imagery for my voice students as well as for myself, and I'm looking forward to implementing some of her ideas in lessons soon. Even though I neither teach opera nor am I an opera singer, the majority of the ways she talks about singing and musicianship is easily applicable to any genre. This is the most technical memoir I've probably ever read, and I appreciate all of it.