A Sneak Peek at the Classical Singer Convention & Competition with Carol Vaness
Every year, the CS Music Convention gathers aspiring singers, industry professionals, and seasoned artists in a dynamic space dedicated to nurturing talent and fostering career growth. This highly anticipated event provides young artists with unparalleled opportunities to learn from and connect with esteemed professionals who have paved the way in the classical music industry. Among the distinguished mentors at this year’s convention is the legendary soprano Carol Vaness.
Carol Vaness, known for her commanding stage presence and stunning vocal artistry, has enjoyed a long and illustrious career in opera. With performances at the Metropolitan Opera, San Francisco Opera, and La Scala, Vaness has become a revered figure in the world of classical music. As a mentor and educator, she brings a wealth of knowledge and experience to the next generation of singers. At the CS Music Convention in Chicago this year, she will be presenting a masterclass and be one of the judges on this year’s competition panel.
What are you most looking forward to at the Convention this year?
When I got to the last one in 2024, it was my first one, I didn’t know what to expect. When I got in the hotel, the atmosphere among all these young singers was like boom, boom, boom, boom, boom! Like electricity, bamming all over the place. And for me, I was just so encouraged by what CS was doing. There were so many people who wanted to learn, and for me, I was so excited by that. There was so much information and I was so thrilled because it was practical information. It became a way to actually get in touch with people that I wouldn’t have had the ability to do before.
That’s what I am looking forward to this year, that energy and atmosphere!
What do you look for in singers when you are judging a competition?
It depends on the level, I’m not sure which group I am adjudicating. But if I’m adjudicating, let’s say emerging pros, what I want to hear is a sound that is clear, has beauty, is able to carry, that has a shine in it, like a shimmer in the top with a singer who actually knows what the words mean, and thus conveys to the audience, what they’re trying to say. That’s what I am looking for. I listen for a special sound. It doesn’t bother me if they take an extra breath, especially if I can see that they have a little bit of nerves. But if a singer doesn’t have nerves and isn’t inspiring me, and isn’t giving me their point of view on the character, I don’t vote for them to go on or give them a high number. When I see someone that not only feels it but knows how to project the meaning of the words through the character, that’s what I want. It’s not that it’s perfect. It doesn’t have to be perfect. None of us are perfect, but you have to be committed to it.
What’s the biggest challenge of being on the other side of the table as a judge?
Having to divorce myself from what I would do! I have to look at the person and as I’m listening to them, listen to what they are doing with their voice. And of course, again, language, languages are important. And in the beginning, that’s hard. It was hard for me too. Most of the time, the challenge is not projecting my taste onto a young singer. Just because I prefer a darker voice does not mean that a brighter voice isn’t wonderful. It’s about which one of these singers is ready to go on. You don’t want to pass on a singer that you think, okay, this is a great singer. Yeah, that singer has a lot of problems, but they’re going to be a big star. Go out there and get it! Sometimes that’s the worst thing you can do for a singer because they don’t have the tools.
What advice do you have for the singers participating in your masterclass at the convention?
I’m known as a “Mozart singer.” Well, I happen to be quite good at Mozart, but if you look at my career, I certainly did sing a lot. I mean, I sang. I’ve sung a lot of Verdi and quite a lot of Puccini. Then there’s a lot of weird stuff in there because my technique was pretty solid. For instance, I did sing all three ladies in Hoffman. So it would behoove people if they really want to work with me, to look and see what I sang and let’s work on that, because I know a lot about those operas, and not just because I’m so wonderful, but because the people who I was hired to sing that with were dang great too. Plus I’ve sung it with some of the major conductors of all time.
Many young singers aspire to have careers like yours. What advice do you give them?
I think the main thing that I have to tell young singers is you need to learn how to study. Learn how to take things apart, how to look at them, and how to determine whether it would be good for you, or not good for you. Then take a chance! And I don’t mean take a chance on singing a high soft note. Take a chance on the character! It can be as crazy as you want, as reserved as you want, but it has to be something. And I don’t want you to think as yourself. I want you to think, what would my character do? I learned that if I just went for it and did something outrageous with the character or went farther than I thought possible, that was always what the director and audience wanted.
I would just tell singers that yes, learn how to study, but learn that the result can be not just poignant, but it can be fun. It is a fun career. Of course, there’s a lot of stuff that’s not fun. When you get in front of the audience, just go for it and show them how much you love to sing.
What is the most important thing you have learned from your teaching career?
Oh my God! I have learned so much more about scores and what different voices can do. One of the most important things I learned was that I’m there to facilitate a young singer, develop their voice, their sound, without me changing it. I don’t feel like I have to say, well, you have to sing what I sing. I am in awe of how many beautiful young singers there are and can be.
For me, I learned to help them be more of what they want to be with their voices. But if I think they’re going to bust a gut, I’ll say, well, and if they really want to learn how to do it, I’ll be there to help them. But I will always tell the truth. I never, ever, ever make something up, not one tiny thing. I don’t flatter people falsely, and I don’t criticize them falsely. I want you to understand I’m not here to change you. I’m here to help you. I don’t want to change your sound. I am here so we can try different things to see what works best.
If you could give your younger self one piece of advice before a masterclass or competition, what would it be?
I’m not sure. I was never afraid in a competition. I was energized by the chance to show people how much I loved not just my voice, but how much I loved what I was singing and the characters I was singing. I probably would encourage myself to not be so hard on myself if I was going back and looking at everything or listening to something.
I would encourage young singers to just make sure that you know what you’re doing when you sing, because you cannot control other people’s opinions. It’s very hard, I think, for young singers, and occasionally for me, to realize that just because I love my voice and all these other people give me standing ovations, that doesn’t mean everybody’s going to like it. The reason is similar to how I don’t like strawberry ice cream. I just don’t. And you can’t make me eat it. It’s a question of taste. It doesn’t mean that strawberry ice cream is bad, but my taste is chocolate. So it’s a matter of taste. You have to remember when someone doesn’t like it, it’s their taste. It’s important for singers to understand that not everybody’s going to like them, but that doesn’t mean you should go around thinking, oh, I bet they don’t like me. Because paranoia will never, ever help you ever, ever.
In conclusion
Carol Vaness reminds us that opera is not just about technique or fame—it’s about heart. It’s about the power of vulnerability on stage, the courage to take artistic risks, and the joy of sharing music with others. We here at CS are honored to have her share her legacy, both as a performer and teacher, at this year’s convention.
Be sure to go to: https://www.csmusic.net/content/convention/ and learn how you can sing for Carol Vaness this year and take your chance!
