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.
My One And Only Love/This Is Always
Renée Fleming Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
This isn't maybe, this is always.
This is love,
The real beginning of forever,
This isn't just mid summer madness,
A passing glow, a moment's gladness,
Yes it's love.
I knew it on the night we met,
So how can I forget you.
With every kiss I know that
This is always.
In Renee Fleming's song My One And Only Love/This Is Always, the lyrics are an expression of a deep and eternal love that the singer feels for her partner. The refrain "This isn't sometimes, this is always. This isn't maybe, this is always" repeats throughout the song, emphasizing the certainty and permanence of the love being described. The singer suggests that this love is not just a passing fancy or a temporary feeling, but something that will endure forever.
The lyrics go on to describe the profound impact that this love has had on the singer, making it clear that it is not something that she will easily forget. She recalls the night that she met her partner, and how he "tied a string around my heart," suggesting that he has captured her heart and will always hold a special place in it. The singer goes on to describe the intensity of the feelings that she has for her partner, suggesting that every kiss confirms for her that this love will always endure.
Overall, the song is a declaration of undying love, a celebration of the powerful bond between two people who have found true love with one another.
Line by Line Meaning
This isn't sometimes, this is always.
Love is not something that happens occasionally or randomly - it is a constant, a forever presence.
This isn't maybe, this is always.
There is no doubt or uncertainty when it comes to love - it is a definite, constant feeling.
This is love, The real beginning of forever,
Love is not just a fleeting emotion, but the start of a lifelong commitment.
This isn't just mid summer madness, A passing glow, a moment's gladness,
Love is not a temporary infatuation, but a true and lasting emotion that brings enduring happiness.
Yes it's love.
The feeling being discussed is, indeed, love.
I knew it on the night we met, You tied a string around my heart, So how can I forget you.
The moment the two individuals met, they knew there was a strong connection between them, making it impossible to forget each other.
With every kiss I know that This is always.
Every kiss reaffirms the connection and constant presence of love between the individuals.
Lyrics © Sony/ATV Music Publishing LLC, Peermusic Publishing, Warner/Chappell Music, Inc.
Written by: MACK GORDON, HARRY WARREN
Lyrics Licensed & Provided by LyricFind
Rubin Romeo
The perfect voice and the right piano accompaniment. The voice may not be exceptional but the rendition is exact to the meaning of the song.
The Flylooper
Lovely. Hersch's piano was a terrific frame for Fleming's voice. His fills were perfect.
GregoryMRD
I'm always afraid to listen to Opera singers I love when they step outside that idiom. I usually find the operatic style overpowering and "mannered." This time in particular because I'm a Jazz singer fan. Oh.... but this is sublime.
Jazzwayze
Bella Voce indeed.. Fantastic sound and spot on key... Coluld listen all day! Thanks Have a great Holiday. JW
Jesús Albornoz
Qué exquisita la interpretación de Renée Fleming. ¿Quién es el pianista?
Jesús Albornoz
Gracias.
Vidal Sbrighi
Fred Hersch
Cris María Hernandez
Sublime
GregoryMRD
Oh. Oh. Oh... Just magical.
Kristin Kodym
Wunderbar. Wie Samt und Seide.