2011 – Page 2

Two living composers discuss their first forays into writing opera, the challenges they faced, and how their lives and careers came together to better their work.

When I first read Susan Eisenberg’s cover story featuring Robert Orth (p. 20), I couldn’t stop reading. I knew little of Orth’s career and began reading, curious to learn more.

When home is too far away, practice rooms in New York City are surprisingly easy to find.

This installment of singers of the past features soprano Mary Garden, a revolutionary of her time who set the stage for the singer-actor emphasis of the present day.

Tony Arnold has made a name for herself as a sparkling performer of some of the most daunting new music. A soprano who was a conductor first, Arnold built her career around her favorite composers and collaborators. Here she shares how you can do the same.

Over the last 40 years, baritone Robert Orth has established himself as the go-to guy for new works. Composers love to write for him. And, so, he has been part of the majority of the biggest premieres of this century and last—Heggie’s Dead Man Walking, Ian Gordon’s Grapes of Wrath, and so many more. How did this former school teacher and musical theatre leading man find his way into opera and, specifically, new works? Orth, the composers who love to write for him, and his colleagues who love to work with him answer that and more.

Kiera Duffy stepped into the Metropolitan Opera limelight when she became a finalist at the 2007 National Council Auditions and was featured as a central character in Susan Froemke’s documentary, The Audition. Four years later she is known for her stellar musicianship and the ability to sing contemporary music with both elegance and ease.

Many opera companies have singers stay with local board members or volunteers during the rehearsal and performance process. Learn how to make this a positive for all involved and read about the good, bad, and even ugly experiences of others.

Another audition season is in full swing, which means travel for many singers. Discover 11 websites that are sure to make your travel easier and affordable.

To share your comments about Classical Singer e-mail editorial@classicalsinger.com.

The life of a Fest singer isn’t all work. Downtime often means travel time . . . and what better place to explore than Germany.

Critics have cried for years, “Where is the big operatic voice?” But are they asking the wrong question? Olivia Giovetti explores a variety of other possibilities that might explain what many consider a dearth of large voices.