2001 – Page 8

The Opera Orchestra of New York's Young Artist Program just might be the greatest of all Maestro Eve Queler's musical and artistic legacies.

Today, some 63 years after his death, this legendary basso's striking individuality and willingness to take chances and stand up for what he believed to be the truth in his art remain an inspiration to all singers.

Hearing and singing have the closest relationship, one that cannot be overestimated.

This page supplements the March 2001 issue of The Classical Singer with audio selections. They are tied to three articles and three reviews in that issue. The full text of the articles in the magazine and other services it provides to professional singers and students of the vocal arts are available at the WWW site, http://www.classicalsinger.com
Please note that we provide these selections in limited fidelity, sufficient to make the musical point, but far short of that available on a modern CD. To listen, your browser must have MP3 capability. That is provided by free plugins available from http://www.microsoft.com/ (MediaPlayer) or http://www.real.com/ (RealPlayer) and in other forms for various platforms.

Small labels are leading the field of vocal recordings.

Beethoven: Fidelio Metropolitan Opera, New York December 22, 2000 Terrific singing highlighted the Metropolitan Opera’ s interesting new production of Beethoven’s Fidelio. Soprano Karita Matilla as Leonore/Fidelio sounded ravishing and

CS magazine and the CS Community website continue to evolve to better meet the needs of singers and to take advantage of emerging technologies. Not surprisingly, the internet is playing an increasingly important role in the marketing, preparation and presentation of singers

The composer has provided a more detailed description of dynamics than is usual for music of this period, and attention should be paid to his wishes.

Rigid age requirements in competition guidelines are screening out scores of talented artists, leaving them frustrated, discouraged, and silenced.

Sidestepping the “quick fix” limitations of the format, this great singer was able to make a real difference in the artistic growth of a group of young singers.

Italian conductor Carlo Rizzi discusses his crusade against bad operatic “tradition,” reveals what he looks for in singers, and explains what he was attempting in his controversial Il Trovatore performances at the Met.

Classical Singer's voice doctor addresses the problems of breathy singing, chronic throat clearing, and a developing vocal wobble.