The beautiful voice in print.

If you were to ask people in the know about the goings on of the opera world, they would probably agree that Renee Fleming is the closest artist that could be called current American diva. Especially after the release of her most current disc, Homage: The Age of the Diva, it would appear that Fleming herself isn't adverse to the title. So it perhaps shouldn't come as a surprise that Fleming has released (in 2004) The Inner Voice: The Making of a Singer: a memoir, not of her life, but of her voice.

It's an interesting concept, but one that has some inherent problems. For instance, where does the voice end and the singer begin? How does such a book different from a singing how-to (or even an extended voice coaching session)? Opera singers sometimes like to refer to their voices as 'instruments,' a concept that almost makes the singer and the voice two distinct entities. Fleming herself has noted that she doesn't like to think of her voice in that manner, but there is the sense from Inner Voice that we're getting a lot on the voice and not so much on Fleming herself. Much of the book reads like the responses to a very friendly interviewer, leaving the singer herself somewhat distant. There's a little bit of confusion over to whom the book is being addressed as well. Fleming offers considerable advice and examples of how she produces her sound and how to avoid the fatigue and vocal damage that often plagues classical singers. Puzzlingly, some simple musical terms, such as legato, are defined in the text, suggesting an audience with little formal training. Yet more difficult concepts ('tessitura') receive no explanation.

On the positive side, Fleming writes with a down-to-earth sensibility that immediately dispells any notion of the stereotypical touchy diva. If Inner Voice suffers from some a lack of focus, at least one can say that it is a breeze to read, and the moments where Fleming does get into some personal history offer honest, engaging depictions of the hectic life of an opera star. As such, I'm still glad that I took the time to read it. Die-hard Fleming fans, voice students and opera enthusiasts interested in the 'how it's done' aspects of singing would probably find The Inner Voice most satisfying. Fleming's artistry and career are likely important enough to encourage future books; perhaps she'll write a more traditional memoir in the future. In the meantime, this interview and performance on MPR's Saint Paul Sunday provides a satisfying portrait of the artist.