Renée Fleming, one of the best-loved and versatile sopranos of the late 20th and early 21st centuries, has been described as "the people's diva," and perhaps comes closer than any other singer of her time to being an old-fashioned operatic superstar. Her wise repertoire decisions have allowed her to embrace a wide variety of works throughout her career, including Baroque opera, Mozart, the Italian bel canto repertoire, Verdi, Massenet, Puccini, Richard Strauss, a number of contemporary operas, and songs from all eras. Her voice is notable for its fullness, warmth, its creamy tone quality, and her ability to spin out long velvety legato lines. She is known for the intensity and integrity of her dramatic portrayals and her engaging stage presence.
Fleming's parents were high school vocal music teachers. In 1981, she graduated from the State University of New York at Potsdam with a degree in music education and continued her musical studies at the Eastman School of Music, which she credits with giving her a strong academic and theoretical background. From 1983 to 1987, she was enrolled in the American Opera Center at Juilliard, where she met Beverley Johnston, the voice teacher with whom she would continue to study throughout her career. Fleming also recalls with admiration the year she spent studying lieder with Arleen Augér, on a Fulbright Scholarship. In 1988, she won the Metropolitan Opera National Council Auditions and the George London Prize (in the same week), and the Eleanor McCollum Competition in Houston.
Fleming sang the Countess in Mozart's Le nozze di Figaro at the Houston Grand Opera in 1988, made her New York City Opera debut in 1989 as Mimi in La bohème, and her Covent Garden debut as Glauce in Cherubini's Medea later that year. In 1991, she made her acclaimed Met debut, stepping in for an indisposed Felicity Lott as the Countess in The Marriage of Figaro. The Countess was her debut role in San Francisco (1991), Vienna State Opera (1993), and Glyndebourne (1994). In 1993, she made her debut at La Scala as Donna Elvira, and she sang Eva at the 1996 Bayreuth Festival. Since that time, she has continued performances at the world's leading opera houses and concert halls and has continued to expand her repertoire. Among the roles for which she has won acclaim are Handel's Alcina and Rodelinda; Rossini's Armida, Violetta, Manon, Thaïs, Tatyana, and Rusalka; and numerous roles in Strauss operas, including the Marschallin, Daphne, Arabella, and the Countess in Capriccio. She created the role of Rosina in Corigliano's The Ghosts of Versailles in 1991, Madame Tourvel in Conrad Susa's Dangerous Liaisons in 1994, and Blanche DuBois in André Previn's A Streetcar Named Desire in 1998.
She has garnered praise for her many recordings, both on CD and DVD, and has been nominated for 12 Grammy Awards and has won three, in 1996, 1999, and 2010. In addition to her work in the classical repertoire, Fleming has recorded contemporary pop songs, jazz, and film soundtracks. She has hosted a number of television and radio broadcasts, including The Metropolitan Opera's Live in HD series, and Live from Lincoln Center for PBS. Her honors include Sweden’s Polar Prize (2008), the Chevalier de la Légion d’Honneur from the French government (2005), Honorary Membership in the Royal Academy of Music (2003), and a 2003 Honorary Doctorate from the Juilliard School.
Hallelujah
Renée Fleming Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That David played, and it pleased the Lord
But you don't really care for music, do you?
It goes like this
The fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah
Hallelujah
Hallelujah
Hallelujah
Your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew her
She tied you
To a kitchen chair
She broke your throne, and she cut your hair
And from your lips she drew the Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
You say I took the name in vain
I don't even know the name
But if I did, well really, what's it to you?
There's a blaze of light
In every word
It doesn't matter which you heard
The holy or the broken Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
I did my best, it wasn't much
I couldn't feel, so I tried to touch
I've told the truth, I didn't come to fool you
And even though
It all went wrong
I'll stand before the Lord of Song
With nothing on my tongue but Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah
In Renée Fleming's version of "Hallelujah," the listener is taken through a journey of faith, doubt, love, and acceptance. The song opens with a reference to King David and his music, which is said to have pleased God. However, the listener's attention is soon drawn to a person who does not share this love for music. The melody of the secret chord is then described musically, with the lyrics referencing the fourth, the fifth, the minor fall, and the major lift. The image of the baffled king composing the Hallelujah, which has become a popular symbol of exultation, is painted in these lines.
The next verse describes a faith that is strong but requires proof. The story of Bathsheba, who pulled King David from his divinity, is evoked here. In Fleming's version, Bathsheba is seen not as a temptress but as a woman of irresistible beauty who overthrew the king's heart. The image of Bathsheba tying the singer to a kitchen chair, cutting his hair, and breaking his throne alludes to the story of Samson and Delilah, another tale of love and betrayal.
The chorus repeats throughout the song, emphasising that through all these events, the singer is still able to draw on the word "Hallelujah" as a means of expression, representing both joy and sorrow. In summary, the song celebrates the power of music to speak to our most profound emotions, from deep faith to profound doubt, from unconditional love to bitter loss, and from complete truth to self-acceptance.
Line by Line Meaning
Now I've heard there was a secret chord
I have learned of a mystical tune
That David played, and it pleased the Lord
David performed this melody and God was content
But you don't really care for music, do you?
However, it seems that you are not very interested in music, are you?
It goes like this
These are the notes
The fourth, the fifth
The fourth and fifth notes
The minor fall, the major lift
A minor descent followed by a major ascent
The baffled king composing Hallelujah
The perplexed king created a song of praise
Hallelujah
Praise the Lord
Hallelujah
Praise the Lord
Hallelujah
Praise the Lord
Hallelujah
Praise the Lord
Your faith was strong but you needed proof
Although you had strong faith, you wanted confirmation
You saw her bathing on the roof
You saw her bathing on the rooftop
Her beauty and the moonlight overthrew her
Her attractiveness and the moonlight brought about her downfall
She tied you
She bound you
To a kitchen chair
Onto a chair in the kitchen
She broke your throne, and she cut your hair
She destroyed your authority and she cut your hair
And from your lips she drew the Hallelujah
And she elicited praise from you
Hallelujah, Hallelujah
Praise the Lord, Praise the Lord
Hallelujah, Hallelujah
Praise the Lord, Praise the Lord
You say I took the name in vain
You claim that I used the name without proper respect
I don't even know the name
I do not even know which name you are referring to
But if I did, well really, what's it to you?
But even if I did, why would it matter to you?
There's a blaze of light
There is a brilliant illumination
In every word
In each and every word
It doesn't matter which you heard
It is of little consequence which version you heard
The holy or the broken Hallelujah
Both the sacred and the damaged version of the song of praise
Hallelujah, Hallelujah
Praise the Lord, Praise the Lord
Hallelujah, Hallelujah
Praise the Lord, Praise the Lord
I did my best, it wasn't much
I attempted with all my effort, but it was only a little
I couldn't feel, so I tried to touch
I was unable to feel, therefore I attempted to make a connection
I've told the truth, I didn't come to fool you
I spoke honestly and did not come to deceive you
And even though
And despite the fact that
It all went wrong
It did not go as planned
I'll stand before the Lord of Song
I will present myself before the Ruler of Music
With nothing on my tongue but Hallelujah
With only the song of praise on my tongue
Hallelujah, Hallelujah
Praise the Lord, Praise the Lord
Hallelujah, Hallelujah
Praise the Lord, Praise the Lord
Hallelujah
Praise the Lord
Lyrics © Sony/ATV Music Publishing LLC
Written by: Leonard Cohen
Lyrics Licensed & Provided by LyricFind
Great moments of opera
He's very good at harmony!
Darren Hines
he should be behind bars for crimes against humanity!
Oscar Stern
She's got some soul
Eleanor Avinor
😊 wonderful
Igor Silva
Good job, dr. Collins!
Les Rockel
Just great
James A. Holland
Amazing how non-operatic she can sound! A true master in the art of singing. Who’s the old weirdo tho.? They couldn’t find someone who could complement Madame Fleming’s voice?
Zviya Avigail
That guy is Dr. Francis Collins, the head of the NIH, who discovered genes associated with several diseases and led the Human Genome Project. He's also shined a little lightness on these tough times with his pandemic pop-song parodies.
Sirintorn Stantripop
Everything Helen said is correct. I just want to add that he is the Director of the National institutes of Health (NIH). NIH has 27 institutes with over 20,000 employees. He was the director of NHGRI (National Hunan Genome Research Institute) working along side other national as well as international agencies to complete the Human Genome Project. On August 17, 2009 he was appointed as the 16th Director of NIH by President Barak Obama as well as confirmation by the Senate. On June 6, 2017, President Donald Trump also announced his selection of Dr. Collins to continue to serve as the NIH Director.
anne willmott
How very rude is your ignorant comment. Could you not imagine this elderly gentleman was someone special to be accompanying Ms Fleming? Look him up and read about the extraordinary person for whom you showed no respect.