In our continued discussion of retiring from singing, Adria Firestone gets at the heart of the matter: determining why we sing, as well as our needs and wants on and off the stage. This is a must-read article for singers at every career level to start you on the road to emotional freedom and happiness.
When Eric Dillner, the recently appointed general director of Skylight Opera (Milwaukee), first started out in the music business he never imagined he would one day be wearing an administrator’s hat. While Dillner was singing at New York City Opera, however, he discovered that he enjoyed being on the other side of the curtain. Find out how he made the transition from singer to administrator, and read his advice for others considering a similar path.
A series of serendipitous events cause Cindy to reflect on what makes a singing career—much of which includes thinking outside the box of a major operatic solo career.
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Three singers query Dr. Jahn for advice on the effects of steam and smoke on the vocal cords, on combating acid reflux, and on how to recover from a near-death choking experience. If you have a question for the doctor, e-mail him at jahn@classicalsinger.com.
A relaxed tongue. An easy, fluid breath. You can’t have a free and easy sound without them. So what’s the big deal? Why does it take singers years of hard work to get certain muscles to cooperate? Maybe the trouble is that our muscles are already busy doing something else, like holding on to the emotional memories of the past. If so, then physical training is only part of the process and art of learning to sing.
In the first installment of the Pedagogy 101 series, we tackled the passaggio, with expert advice from some of the most sought-after vocal professionals in the industry. In this issue’s installment, we take a look at what many consider the most important aspect in all forms of healthy vocalizing: breath management.
Soprano Aprile Millo burst onto the operatic scene in 1984 when she made her Met debut, filling in for an ailing soprano in Simon Boccanegra. Hailed by the critics as a “true Verdi soprano” and the next Renata Tebaldi, Millo had big shoes to fill. In this exclusive interview, Millo talks about her rewarding, sometimes difficult journey over the past 20 years. She talks about her decision to leave the limelight for a time, how she defines Bel Canto singing, and why classical music, opera specifically, needs to be defended at all costs.
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Health insurance is always a hot topic, and it’s even hotter in this election year. Take a look at the issue from a singer’s perspective, and get tips for finding affordable health care.
As we continue our look at the Feldenkrais Method, CS’s Jill Anna Ponasik takes readers step-by-step through her first Feldenkrais lesson. Read how she becomes aware of her body and of what she is doing physically that creates mental blocks in her singing.
I have always loved change, in all of its forms—a change in the air with the coming fall, the liberating feeling of a fresh change of clothes, or the jingling
