2004 – Page 11 – All Articles

Linda Mays, the president of AGMA, has been busy redefining the rules of how singers interact with their managers. This is important reading for all singers. Please read it, and pass it on to all the singers and managers, some accepted practiced out there are just plain illegal.

At a certain juncture in a young singer’s training, he or she is faced with that inevitable question: “What do I do next? ” Singers are faced with several attractive, albeit confusing options: Do I move to a major city and start auditioning? Pursue chorus work in an opera house? Find an agent? Get my Master’s? Focus on concertizing? For many singers, the perfect choice is a young artist program, which typically combines several of these elements.

Dear Erda, I’ve recently discovered, to my surprise, that rather than being nothing more than a time-wasting source of income, my church job actually brings me a lot of joy.

I was a young voice student at Cal State Northridge when I first heard of Carol Vaness. It was during my second lesson with Dr. David W. Scott. I didn’t

Dear Editor: I thoroughly enjoy the articles on each artist and student who is making a dent in the musical life of America. I particularly enjoyed the background on Shirley

A Two-Tenor Aida? When German baritone Josef Metternich sang Amonasro, he often warmed up by singing “Celeste Aida,” to the consternation of the tenor in the next dressing room. Sometimes

During the weeks since last month’s article, “Why Singing?”, I’ve been thinking about how easy it is to “break eggs without making omelets.” The questions I asked in that article

Tenor Gregory Kunde is one of the most celebrated American singers on the international stage today. He has performed in all the world’s major opera houses and his repertoire extends from the standard tenor roles such as Alfredo and Rodolfo, to Baroque masterpieces.

Rest in Peace, Hans Hotter On Dec. 6 the world famous bass-baritone Hans Hotter passed away at the age of 94. He was known for the ease with which he

Editor’s Note: The following two letters are representative of several received in response to a singer’s one negative comment in the January 2004 issue on her experience at Shaker Mountain.

Twenty years ago, Opera News came out and said it. “It’s that simple. Marilyn Horne is the greatest singer in the world.” In subsequent interviews, the lady herself sighed, “If only it were that simple.”

I’ve always loved opera. So when my then 9-year-old son Shaun’s piano teacher told me he had an excellent ear and voice, and suggested I bring him to audition for