2002 – Page 6

You can be chosen to sing at Carnegie Hall. A group that performs at Carnegie (Weill Hall) regularly is The New York Festival of Song, Inc. (NYFOS). Take a look the website www.nyfos.org for some very innovative recital programming! It was founded in 1988 by its co-artistic directors, Michael Barrett and Steven Blier, and is dedicated to the re-invention of the recital format. CS interviewed Steven Blier via e-mail.

The first day I came to New York, I didn’t run to see Lincoln Center, I headed straight for Carnegie Hall. It was the thrill of my life to actually

We all know more than we’d like to about bad stress. It can erode our enjoyment of life, make our relationships troubled, and even shorten our lives. But did you

After CS interviewed MidAmerica Productions, we were fortunate to interview Eileen Terril of the Independence Messiah Festival who had used MidAmerica’s services to arrange a trip to perform at Carnegie Hall two years ago. This choir’s experience performing there for the first time exemplifies what the venue has come to mean to singers all over the world

The following letter to the editor was sent to Classical Singer magazine by Willie Anthony Waters, General Director of Connecticut Opera and Artistic Director/Conductor of Opera Ebony. It was originally intended for the New York Times as a response to an article about whether Gershwin’s wishes should be ignored and other races should be allowed to be cast in Porgy and Bess. The New York Times chose not to print the letter. Classical Singer also was not able to print the entire letter due to space concerns as it is over 2000 words long. After some deliberation, we chose to print a 700 word version of it here but make the full letter available to readers on the website version of “Letters to the Editor.”

It’s time to practice but you’re just sick of it all. What to do? Annette Nauraine offers immediate help here

John Fisk—Young singer doing the New York auditions circuit John is at his summer program and does not have e-mail access. We’ll hear about his progress when he returns. Kristine

IN THE WAKE of what should have been a glorious moment, the winners of the Marjorie Lawrence International Vocal Competition found themselves feeling confused, a little foolish, and a lot betrayed. After spending time and money to compete against 60 rival singers, those who came out on top were denied their prize money as well as access to the one man who could explain why—organizer James McCully.

The first time I saw Ramon Vargas on stage was in 1999 at the Vienna State Opera, as Edgardo in “Lucia di Lammermoor.” That season, he also sang Nemorino in “L’Elisir d’amore,” so I had the good fortune to witness unforgettable performances of two very different bel canto roles. I was a student at the Viennese Academy of Performing Arts, and little did I know that my encounter with this complex and generous artist would completely change my perspective on singing and on life in general. Perhaps we have all had the chance to meet—at some point in our lives—an extraordinary individual who becomes a mentor, a source of inspiration, and someone whose wisdom and knowledge help us grow not only as artists, but also as human beings.
When I suggested to Mr. Vargas that I would like to share with other singers and non-singers a “condensed” version of the many discussions we have had on the topic of singing and life as an artist, he agreed without hesitation. It is a great honor for me to present this interview as a glimpse into the mind of one of our greatest singers today.

Dear Editor: Are there any jobs for singers in fabulous vocal shape, gorgeous looking or over 50? CS becomes less and less useful as all auditions and other jobs are

It won’t bring you fame or money, but there is a certain thrill in singing the National Anthem to a crowd of sports enthusiasts. Each year, thousands of amateur and

Money may be tight but that’s one of the best reasons to start saving now for retirement: it may not get better! Singers are doing it on a shoestring and here’s how.