1999 – All Articles

An opera coach takes a close look at the famous aria from Johann Strauss' Die Fledermaus

The arrival of a new century is probably causing most of us to have moments of deep reflection about our direction individually and about the art and industry of classical

For four decades, this eminent stage director has been a calming influence on the major operatic performers of our time.

What do singers think is needed to form a more perfect union?

Every year, hundreds of singers from ages 16 to 60 spend amounts ranging from a few hundred to several thousand dollars to attend summer programs, sometimes at great personal sacrifice. These programs can have extraordinary intellectual, physical, social, psychological and career benefits — or conversely, they can have a devastatingly negative impact.

Dr. Jahn's tips for delivering the voice while you're awaiting.

No Color Line at the Met Dear CS: As most of you already know, MTV took the unusual step of holding the annual awards at the Metropolitan Opera House in

Classical Singer debuts a new section, REVIEWS, this month. We have long recognized the need for performance reviews which emphasize the singers and the music-making rather than the sets, costumes and other elements normally emphasized by the general press. It is particularly appropriate to begin this series with performances by Opera Orchestra of New York, as its founder and maestro Eve Queler has long been regarded as staunchly supportive of the singer’s art.

Summer Program Participant Comments
CS asked singers for candid experiences at the summer programs. We received many responses from some programs, no response from others. The full text of comments, including explanations of problems from program directors as received, is on the website with this month’s issue at www.classicalsinger.com. Edited excerpts here were selected at random.

When you’re up close and personal singing that tender duet, the last thing you want to think about is your breath (or theirs!). Dr. Jahn explains some of the causes of dragon breath, and what you can do to prevent it.

In our interview with AGMA this month, they mentioned their participation in, “Union Privilege.” No one on our staff had heard about it and no singers we contacted had heard about it either, so CS contacted the company itself and received some very exciting and helpful information.

Based on the proposition that the consumer’s knowledge is the purveyor’s power, a marketing expert offers some startling ideas about selling opera to the masses.