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The How (and Why) of a Singer’s Throat Clearing

One of the most frequent questions I get from patients is about the somewhat mundane topic of throat clearing. Singers in particular are concerned about damaging their vocal folds and why do some people need to clear their throat constantly? Most importantly, is there a right way to do it?

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Tech Advice : Practicing & Performing with Pre-Recorded Tracks

I have been practicing to my own synthesized tracks for about 30 years. Singing back to recordings was a way to get a sense of what the orchestra would sound like, but I longed to be able to build my OWN creations right from the composer’s pen to my voice. My solution, no matter how long it took, was to find the most user friendly notation software I could come up with, and to build my songs, arias, or entire roles from scratch with that software.

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Five Things a Conductor Wants from Your Next Audition

  How tall you are, whether your voice will fit well with the ensemble, if and how you gesture while you sing—these are some of the aspects of your opera

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CS Spotlight: Marianne Cornetti with Pittsburgh Festival Opera

Marianne Cornetti, internationally renowned operatic Mezzo-Soprano, is the new Artistic Director of Pittsburgh Festival Opera. As an artist who is still in the middle of her career, Cornetti’s leadership is to increase

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Wishes and Dreams or Goals and Plans?

The start of a new semester is a logical time to set goals for the upcoming school year. On fire with energy, momentum, and inspiration, students often set lofty goals each fall that are designed to help them achieve their dreams. Unfortunately, as the rigors of the semester settle in, many of these goals are cast aside as quickly as most New Year’s resolutions. Actually, the goals themselves may remain unchanged, but without a systematic plan to work toward achieving those goals, the motivation that was initially so high may gradually fade away. 

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Live Opera is Back: Soprano Aušrinė Stundytė and the Salzburg Festival

The world of opera, broken down by the coronavirus, got back on its feet throughout the last month of the summer – the Salzburg festival celebrated its 100th anniversary in August. Elektra by R. Strauss was embodied on the big stage by Aušrinė Stundytė. In this interview, the soloist shares her thoughts on the professional experiences that built her up, the creation of the character of Elektra, and the anxiety she felt before her debut at the Salzburg Festival.

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