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Part of Fleming's success comes from dedicated preparation. A passionate fan of Golden Age opera recordings, she listened to 24 versions of Manon while studying for the part. And she is just as devoted to her family, taking her daughters, ages 2 and 5, with her to every engagement. "They both went on their first trips with me when they were about a month old," she says.
Achieving a satisfying balance between work and home is essential to Fleming. "There was a time when singers felt it was an either-or situation," she explains, "but that's not true anymore. Opera companies take my child-care problems seriously. And of course I have something not every singer has, which is an extremely supportive husband." But, then, this thoroughly modern diva does everything her way, from wrapping up her recitals with a group of songs by Duke Ellington to scrupulously avoiding the knife-in-the-back behavior that has given so many top singers a bad name. "I just don't have the energy it takes to get upset and miserable and nasty," she says. "I have to save it for balancing my children, my husband and my career. But I used to think, 'I'm just not mean--I'll never make it! I'll never be a diva!'" Then she giggles, happily aware that in her case, the nice girl finished first.