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.
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.
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.
For the trained soloist, singing in a choir or opera chorus may be artistically rewarding, or a way to pay the bills between solo engagements. How do you sing in a chorus and still make sure your solo voice stays intact?
Classical Singer salutes a man as beloved for his personal gentility as he was admired for his radiant art.
In terms of protection for the singer, we’ve come a long way. In the first two of three parts of our exploration of the unions, we examine working conditions for the singer, then and now.
While CS’s opinion poll may not be representative of every member and the dissatisfied are more quick to respond, these opinions reveal significant evidence of frustration
Rule One expresses the very power of a union. Will it work for classical singers?
Classical Singer talks with AGMA’s Tom Jamerson.
At New York City Opera AGMA has done much to make the job attractive. Below is a CS interview with Boyd Schlaefer, NYCO chorus men’s representative
Renowned soprano Martina Arroyo has served as a member of the National Endowment for the Arts and the Hunter College Foundation, and after 20 years of service she is now an honorary trustee of Carnegie Hall. Today Ms. Arroyo is a professor of music at Indiana University.
