Renee Fleming, which critics called American soprano shone at the new year concert of the Dresden Staatskapelle.
This year I met in Berlin and Broadway, presented excerpts from operettas and musicals performed by Fleming and tenor Klaus Florian Vogt, the orchestra was conducted by Maestro Thielemann.
The winner of several “Grammy” had a long term friendship with Germany and its music. It all began 30 years ago thanks to a Fulbright scholarship.
“It was an incredible educational experience, recalls Fleming. – I had the opportunity to accept to absorb a lot. I continued to look for yourself. For 10 years I sang Mozart. I think it is a great singing teacher. And then I directly went to the music of Richard Strauss.
It was a difficult challenge for me. I was left alone. I was far from adventurous. I was young and all the way on the plane were crying. The stranger who sat next to me, said, “hadn’t you better go home?” But I never gave up. It took me six months to feel comfortable enough linguistically and not to be lonely. As for the music, I enjoyed it immediately.
I feel at home here. I am very comfortable when I come here. First and foremost, because of the language. It is, of course, not perfect, but I can free to move, to communicate, and this is very important. Secondly, it is the music that is at the core of what I do, namely the music of Richard Strauss. It is an integral part of this culture. And then the theater. When I think about the premieres that took place here, it’s very touching for me.
In Germany the people were given more direct and honest assessment of creativity than those to which I am accustomed. If I sang badly, my friends and colleagues told me: “you Know, this is bad, very bad.” While in new York, when I was still a student, I said, “Oh, this is wonderful” when it was bad. I appreciated this because I was able to draw conclusions. It was great.”
Renee Fleming acknowledges that in a creative way, it was accompanied by success in the face of generous colleagues:
“Leontine Price once called me up and said, “I see that you need help, it’s hard for you, you are now very demanding, it’s constant stress, what we call “noise.” And I just want to help you understand what all you can do is focus on your singing and voice. She helped me immensely, I took literally every note. We kept in touch and every couple of years I called and asked: “Mrs. Price, can I have another lesson, please?”
In this story you can hear fragments of the following pieces:
– Robert Stolz, “Du sollst der Kaiser meiner Seele sein”, from the operetta “Der Favorit” (1916), and “Zwei Herzen im Dreivierteltakt”, from the operetta of the same title (1933) – George Gershwin, “The Lorelei”, from the musical “Pardon my English” (1933) – Frederick Loewe “I could Have Danced All Night” from the musical “My Fair Lady” (1956) – Kurt Weill, “Foolish Heart”, from the musical “One Touch of Venus” (1943) – Irving Berlin “Anything You Can Do”, from the musical “Annie Get Your Gun” (1946)
For more excerpts of our interview with American soprano renée Fleming (in English) link:Opera off stage: a diva reveals her ‘extracurricular activities’