Renée Fleming in Conversation (The Royal Opera) 

I agree with you.

And I agree with her.

Alexander Lee some of you people have a comprehension problem? because I don't even remember her saying anything about the computer being a threat

Two edged sword. Streaming music allows singers to learn a lot of repertoire and see a huge variety of techniques but it also can make people prefer recording quality stuff which is generally artificial in the sense that several takes can be combined and balance between elements tweaked in editing etc. The other thing is the habit of people to sit in front of screens at home instead of going out to live performances. But you are right about people getting their appetite whetted by recordings. So it can work both ways. Here in Australia we have seen a massive decline in live music in the population mainstream scene because of people plugged into their iPads etc. It's very hard for people to get enough gigs in pubs and clubs to make a living compared to in the 1980s and 90s.

I'm absolutely agree with you.

As she says in another interview, the voice doesn't really find itself until one is in her 30's. Sally forth.

Just show up, dress up and NEVER give up!!! You’ve got this.

@@rosalindnewman1254 agree, but @grisial-more has written this 5 years ago so they might not see your comment

+Pe Callahan Most people who know that opera have Fleming in mind when they think about it. You're totally right!

Maybe she does not care to be world renowed. If there was no media, (including recordings on discs and cassetes) their also would not be anything outside of classical music to rival it. Whilst classical music has survived amongst the high and the low for centuries, blues (which was as colloquial as any other kind of folk music) would never have grown into the widely respected art of jazz, which would not have led to rock, pop, hiphop and such, without the propaganda of phonic recording. If music remained a matter of playing or hearing play, (in person) people would take it more seriously.

Mohammed M'Baye Classical music will always be preserved as long as the formal academic discipline of Music exists, because classical music are music that are formally and strictly based on music theory, any music student would be required to learn those pieces and those theories behind them, just like, Shakespear's works will never be lost, as they are pivotal for any English majors. This is contrary to popular music. You seem to have the impression that contemporary music is not classical and that classical music is music of the past. But in fact, right now there is such thing as contemporary classical music, which I doubt that you've heard. But regardless, that was not the main point of my comment. I did not say that social media somehow contributed to anybody's fame per se (tho obviously it can). With any field it can be entirely elite and not based on popularity. BUT, with social media, and the development of media in general, non-elite lay people can also become in touch with the art when before they couldn't. Most people have no money to spend 200 dollars to listen to an opera, which is why social media is excessively important in spreading the art, sometimes it also helps to PRESERVE the art. The fact that now there is a revival of studying Salieri's works (before it would've been lost, as vast majority of classical period piece no doubt are not studied if they are not "important" enough) because of the popularity of the movie Amadeus. Also saying that Fleming doesn't care about becoming world renowned is also ridiculous, considering how much she pushed herself to make it to the world stages.

AstriaICOW Your attacking manner of speech is unsetteling. My comment was rather to defend Fleming, whom you, for no good reason, criticized. And I devised a rather inspired argument, if I may say so, in proposition of her standpoint. That said, I don't deny the usefulness of social media for what I call 'musevangelism' in its entirety. But you have failed to appreciate my thesis. Most popular singers of modern music are NOT schooled in musical theory and its specifics, simply because they don't need to: modern music (with the exception of some jazz) is painstakingly simplistic. Yet more and more people adore them, and keep aversed to classical music. The generations in music schools (very slowly) are shrinking, as a result of the impopularity - which by compulsion takes the price for good education and for performances up, which then makes the attending parties shrink even further - and if there are not enough students, then the schools will close. However, in contrast to your accusation, I do not think this art will die. I think there will be a great revival, and very soon. Contemporary classical music - of which I am a fervent consumer, and the composition of which I study, soon to practice - will be a part of this renaissance. But criticizing the artists will not help us. As cliché as it may sound, the one way to grow this group further is by uniting. People ought to join in after observing our friendliness and good character. Ps. Back in the day - before records - opera companies were more numerous, and even though elite opera houses existed, (the Met was one of them) ordinary people were very used to visiting smaller ones, at highly reasonable prices - no more than one would pay for, say, a ticket to a football game. Also, more people played instruments and sang on an amateur basis, which made it possible yet to enjoy music in the comfort of the home.

Mohammed M'Baye It seems like you are just butt hurt because I criticized some artist, as if any artist should be exempt from criticizing. I happen to be a fan of many of Fleming's work, that doesn't mean that I'm going to ardently defend her no matter what she says. Social media is something that made many independent artists well-known, it helps (especially) artists. If she cannot appreciate that, she really needs to get out more and meet more people who are not fortunate enough to make it to the big stage by traditional ways (there are PLENTY).

It's a mixed blessing. Do seventy-five people have to make personal recordings of a performance, thereby distracting everyone, including the performer?? Here I am on RU-vid, yes, but I deplore the bright blinding beacon of the "smart" phone at a play, movie, or opera. It's so selfish, and the audience in question are pitiable for their incapacity to sit, watch, and listen. I saw it the other night at a local opera--a middle aged couple started sharing personal crap on their phone, and soon the husband wasn't even paying attention to the play anymore. We should have one designated RU-vid archivist at a performance. The rest can and should keep the phones and cameras in their satchels.

Why shouldn't she

@@sanfordpress8943 I didn’t say she shouldn’t be! I was being sympathetic and pointing out the interviewer shouldn’t really have brought it uo

@@fitcrit oh my. Ok. Lol

They would have met before

She's wonderful. Modern musician

?

The interviewer's.

@@DoubleGauss oh, wow, that was a quick response considering you said this 3 years ago lol

@@DoubleGauss but yes she does have quite nice legs

Nata Mitic what is happening to our ears. This is why opera is becoming less and less appealing.....the singing no longer touch hearts

Are you saying her voice is "zero"? I am no fan but the instrument is beautiful but her mannerisms (scooping) can be irritating and in orchestral recitals she has rarely appeared to be in the text of what she is singing. Compare Jessy Norman in the Four Last Songs and Renee. They are both on You Tube.