Tell us how we’re doing. We’d love to hear your response and reaction to the articles published each month, as well as your view on the classical singing community. Contact us via e-mail at editorial@classicalsinger.com or by mail at Classical Singer magazine, P.O. Box 1710, Draper, UT 84020.
CS continues its series on how the industry is responding to the economic challenges of the last year. This month read what opera companies are doing to survive and how it’s affecting singers.
Countertenor Mikah Meyer has always been a mover and a shaker. He first shook things up in his high school choir, singing second alto because of his extraordinary range. Then he set up a program as an undergraduate at the University of Memphis designed to help high school-aged prospective voice majors learn how to excel. His next project: making his acceptance to a top voice program in London a reality.
Cleveland-based Baroque Orchestra, founded in 1992 in the midst of another recession, continues to strike a chord.
If you’ve ever considered delving into the mystery that is early music but felt a little apprehensive at the prospect, fear no more. This introductory guide will set you on your way.
While preparing this early music issue and looking for ideas, I did what any twenty-first-century, knowledge-seeking person would do: I asked for input via a status update on Facebook. The
One of the most daunting tasks when considering singing early music is the question of ornamentation. Discover a simple cheat sheet to make ornamentation a little less foreboding and a lot more fun.
Joel Frederiksen’s long and varied career is a lesson in patience and preparation. After a teacher opened up his voice and declared him a true bass, Frederiksen then had to wait for his voice to mature. He put the downtime to use, however, developing skills that would one day serve him well—like playing guitar, developing a love affair with the lute, and honing his directorial skills in public schools. Find out how these skills have allowed him to create an international career in a multitude of settings and styles.
Get the real skinny on the facts and myths surrounding early music and its required vocal technique.
Jeffrey Thomas, cofounder and sitting conductor of American Bach Soloists, shares his insights on what it takes to truly excel as an early music artist.
This article begins a new series designed to address the changing economic climate and how it affects singers at every level of the business. Beginning with Young Artist Programs (YAPs), continuing on to opera companies of every level, and including summer festivals, concert work, and choral singing, this series will provide information to help you make informed decisions necessary to not only survive but thrive.
While in San Francisco performing her Tony Award-winning role as Florence Foster Jenkins in Souvenir, two-time Tony winner and all-around non-diva Judy Kaye held a masterclass, teaching alongside her husband of 21 years, actor and acting coach, David Green. Lisa Houston had the pleasure of both singing for the class and seeing Kaye perform. Here are a few bits of wisdom she picked up during this latest leg of Kaye’s amazing journey in the world of musical theatre.
