Lyric Opera 2018-2019 Issue 10A Renee Fleming Gala

20 | March 23, 2019 ing the confidence for high-pressure auditions (documented in her excep- tionally insightful book e Inner Voice , written with young singers in mind). e turning point came in the late 1980s at Houston Grand Opera, at an audition for the company’s Studio pro- gram. Renée was informed that she belonged not in the program but onstage in a major role. In HGO’s Figaro she sang the Countess, and with that success began three decades in which she has continually gone from strength to strength, while constantly growing as an artist. Central to Renée’s view of singing is a deep respect for the art. Its history is a continuum, within which she has avidly examined details of style and technique in performances of those who have preceded her. ey have been been an abiding influence and a source of considerable inspiration. At the time that Renée’s career was taking off, she received advice on coping with life as a diva from someone who had been there – her idol, Leontyne Price. “You have to tune out everything extraneous and focus on one thing,” said Miss Price. Pointing to her own throat, she added, “ is is the only thing you need to worry about. You can’t allow yourself to be distracted by the other things.” Renée has taken those words emphatically to heart. Although she’s enjoyed the excitement of a career at the absolute pinnacle of the profession, her number-one priority has been caring for her instrument and giving 150 percent to her audiences. As a result, for the past three decades she’s maintained vocal stan- dards that, for sheer beauty and consistent technical excellence, have surely been unequalled in our time. What Renée has contributed to the world, as an inspiring leader and a passionate advocate for the arts, is incalcu- lable. Especially during the past decade, she’s used her stature as an artist to foster cultural communication in innumerable ways. For example, as Lyric’s creative con- sultant since 2010, she’s taken an active leadership role in the development of new programs that increase audiences and awareness of our art form while sharing in Lyric’s artistic vision. Her range of projects has been remarkable, from serving as curator of Jimmy López’s Bel Canto (world premiere, 2015) to advocat- ing for the inclusion of great American musical-theater works like those of Rodgers and Hammerstein, initiating the relationship between Lyric and e Second City, spearheading Lyric Unlimited's Chicago Voices initiative, and championing the Vocal Partnership program (a joint program with several key community organizations). Renée is in a class of her own as a mentor to young artists, in whom she exhibits an ongoing, fervent interest. Serving as advisor to Lyric’s Ryan Opera Center, she regularly meets with the program’s ensemble members to discuss TODD ROSENBERG As Hanna Glawari, heroine of T he Merry Widow , with omas Hampson as Danilo (2015/16). In the title role of Alcina (1999/00). DAN REST TODD ROSENBERG As Violetta in La traviata, with Matthew Polenzani (left of center) as Alfredo (2007/08).