In this difficult profession, sometimes we need help with a little perspective to remember why we sing. Here a singer and coach shares her reasons for singing, including how the joys and frustrations have caused her to find deeper, more fulfilling reasons for continuing a life of song.
Submit entries to the bulletin board by e-mail at bulletinboard@classicalsinger.com.
In the May issue you read about Cindy’s Do-It-Yourself Summer Program Intensive. Here’s Part 2 of the Intensive, sure to get you on your way to an amazing fall audition season, with everything from fund raising to polishing your “Top Ten” (yes, you read that right, 10 arias, not just five—read on for details), to writing a terrific bio and refining your résumé. If you missed last month’s installment, don’t worry! The program begins June 1, and you can read all about it in our archives at www.classicalsinger.com.
Tell us how we’re doing. Tell us about the articles that have helped you and articles you’d like to read. We would like to publish your comments, received either by e-mail at editorial@classicalsinger.com or in the mail at P.O. Box 1710, Draper, UT 84020.
The ins and outs of being a classical singer can be overwhelming. It is easy to get lost in worrying about technique, business woes, audition nerves, or performance stress. With graduation season in full bloom, many singers are stepping out into the world to try to realize the dream of becoming a professional singer. Whether you are just starting out or you’re a seasoned professional, before you sing another note or send out another résumé, take a few minutes to remember how you got into this mess. Try to remember the moment you knew you were a singer.
In previous articles we’ve taken you through blogs and MySpace. This month Classical Singer’s one-woman “geek squad” introduces you to the podcast.
I used to live on the third floor in an apartment particularly lacking in good insulation. Even with my window tightly shut, my bedroom blinds would sway back and forth
Have you ever wished you could get inside a general director’s head in an audition and find out what he or she is really thinking? Well, here’s your chance. Stephanie Adrian reviews a recent Opera America Workshop where general directors shared their thoughts. She followed up two weeks later with Atlanta Opera General Director Dennis Hanthorn, asking more questions singers have always wanted to know from those who do the hiring.
Internationally acclaimed conductor Donald Runnicles is beginning his last season as music director and principal conductor with San Francisco. The Scotsman has his eyes on a new adventure: general music director of the Deutsche Oper Berlin. Runnicles sat down recently with CS’ Stephanie Adrian to discuss the job change, several projects with which he is currently working, and how he views the future of opera.
Practice makes perfect, right? Well, what do you when complaining neighbors make practicing difficult, if not impossible? CS’ Rachel Antman found herself in just such a situation and decided to search out possible solutions.
Dr. Jahn advises singers what to do to ensure healthy and beautiful singing after a period of vocal rest.
Tenor Giuseppe di Stefano passed away March 3, leaving wonderful memories in the minds of his older fans and fabulous recordings available everywhere that can thrill old and young alike. Born in
