Soprano and voice teacher Andrea DelGuidice has extensive performing experience in opera, opera directing, plus a robust voice studio, and leadership roles in programs of study and opera companies. It’s no wonder that she lends her creative flair and attention to detail to her home as well.
Today we aren’t looking at a specific item but the general uses of face steamers and nebulizers. If you have favorite singers or influencers, I’m sure you’ve seen a GRWM (get ready with me) that shows some use of a steamer or nebulizer. What is the difference and why would you use one over the other? That’s the question I’m looking to answer today. Neither of these tools are exclusive and can be used with the other tools mentioned in earlier articles: Breather Voice—Tool Time 4, Vocal Trainer by Better Voice—Tool Time 3, Belt Box—Tool Time 2, and Sing Ring by OOVO—Tool Time. Much like everything that I have gone over, these tools deal with optional maintenance for good health and better vocalization. These devices also have outside uses from voice care.
The first edition of The Vocal Athlete, published in 2014, was one of the first vocal pedagogy textbooks to focus primarily on singing in contemporary vocal styles. Authors Wendy D. LeBorgne and Marci Rosenberg also published a companion workbook of vocal exercises titled The Vocal Athlete: Application and Technique for the Hybrid Singer.
Maybe it’s the winter chill or the week I just spent at Toby’s alma mater for his performances of Die Fledermaus, but I’ve been “all in my feels”— reflecting a lot on what I wish I had known before jumping into undergrad and grad school for opera. There’s so much advice thrown at young singers—some of it helpful, some, well, not so much. Narratives like “You have to sacrifice everything if you want a career” and the classic, “If you can do anything else, do that” have personally haunted me, and spoiler alert: they couldn’t be further from the truth.
Jeremiah Evans has been described as a “consummate melodist” (OperaWire), and his songs and piano repertoire have been praised as having “an impressionist milkiness” (NY Times). In the last five years, his music has permeated the classical vocal world, with performances by Lawrence Brownlee, Kenneth Overton, and many others.
American soprano Mary Dunleavy has enjoyed an exciting international career that spans over three decades and counting. She has done it all, from the most iconic soprano roles on The Metropolitan Opera stage, to premiering new works, singing on a Steven Spielberg film, and teaching at Manhattan School of Music. Dunleavy credits her longevity to a hard-earned vocal technique, a solid mental game, a passion for acting at the core of her performances, a loyal team, family life and a good dose of luck.
Acid reflux or GERD (Gastrointestinal Esophageal Reflux Disease), as it’s sometimes referred to, is an uncomfortable and sometimes painful condition. It’s also a condition that is often dreaded by singers.
In this interview, co-author Cynthia Vaughn identifies how “class voice” differs from voice lessons and discusses how The Singing Book has evolved over its 20-year lifespan.
Join Liana Valente as she introduces you to her composer friends and their music, a series that we hope will inspire you to explore the magnificent repertoire that is being written today.
Soprano Nicole Heaston is a shining example of a constantly evolving artist in an ever-changing operatic landscape, a singer who values story-telling and technical excellence, and someone who wants to inspire, encourage, and nurture young talent.
Dating another artist comes with a whole set of unique challenges: unpredictable schedules, financial instability and everything that is the emotional rollercoaster of building a career in the arts. But dating someone who understands this world is also a profound gift.
This article explores the delicate balance between artists, audiences, and arts organizations, addressing today’s challenges and offering insights on how collaboration can ensure a vibrant and sustainable future for the arts.
