Over the years the Forum has grown to be an experience of truly operatic proportions, with all the drama, passion, bloodthirstiness, and love any great opera has. And just as we do after a performance, when the action is over we all get to take off our costumes and resume our lives unharmed, but richer, we hope, in experience and knowledge.
The Forum is not for the faint of heart, and what seems like an innocent start often ends in profound discussions fueled by the strongest convictions and passions I have ever seen on any venue of this type.
The greatest quality of the Forum is this: Even though it often echoes the magazine itself, or current events and performances, it is regular people like you and me who get to voice our opinions.
Everybody has an equal say on the Forum. When you voice a technical, ethical, or professional concern, it is not experts, teachers, and doctors who give you an answer. It is people such as you—people who may have experienced the same thing under the same circumstances—who offer insights. Indeed, the most basic commentary from you can echo deeply in the consciousness of someone who may not have the knowledge or the resources to confront the problem you are facing openly.
Don’t get me wrong, experts participate in the Forum—some self-proclaimed, others well regarded, a few unproclaimed. No matter what the expert opinion is, however, it is most often not the answer to a specific problem that matters most, but rather the dialectic discussion. It is the “breaking” of the wall that reveals to all what may lie on the other side and allows you to make a final determination, not a teacher behind a piano, or a doctor behind a desk, nor a parent, or a dean—just you.
The Forum also includes dissent, as it should. Indeed, I encourage healthy discussion—as long we discuss issues, not people. Nothing is easier, cheaper, and less productive than ad hominem discussions. Often, though, nothing is healthier than a good fight for a good cause, with just enough fire to awaken the spirit.
With that in mind, this month we bring a monthly feature to the pages of Classical Singer: “Echoes from the Forum.” We will introduce you to the forum members, their beliefs, and their positions. We will post quotes and discussions, interview members, and, we hope, inspire you to join us in the forum to inspire and be inspired.
I’ll see you online!
After successfully completing a period of vocal therapy to repair some minor damage to her voice:
“I think the most important thing that has happened in this horrible situation that I wouldn’t wish on anyone, was that I learned to use my own brain and question people when I feel something’s off.”
— Soprano 27
On learning roles prior to engagements:
“In today’s opera, rehearsals are for staging and balance, not for learning. If you expect someone to hire an entire orchestra and chorus at union rates, plus staging or performance space fees, so you can learn the role, you’re gonna get in trouble.”
— Vagabond
On taking time off from auditioning and performing to work out technical issues:
Vasafaxa: She said it should take about six months to a year to fix all my technique issues, and from the lessons it’s been slow going. Any advice?
Vagabond: Yes, take six months to a year and fix all your technique issues. You’re 16. Trust me; you have the time!
Mr. Cafiero: How about six years?
Merodiene: I’m on the 15-year plan, personally.
On the passaggio and imagery:
“I think the world of vocal technique would clear up significantly if teachers and writers made a conscious effort to separate feelings from real physical actions. . . . As far as I know, you can’t accurately measure feelings.”
— RX88
On seeking alternative sources of income while pursuing her career:
“A career in opera is a very challenging and long journey. It requires a lot of time, patience, [and] unshakeable will and determination, as well as a stable source of income to support this ambitious pursuit.”
— ColorSoprano17
On searching for technical solutions:
“It is so hard to do alone. You really need a good teacher who knows what to listen for and how to lead you to the correct sound.”
— Merodiene
On starting with a new teacher:
Thombrogan: So long as it makes me extremely loud, that shall be my endeavor.
Mr. Cafiero: No, as long as it is the correct sound. Don’t worry about being loud.
Thombrogan: Then that shall be my endeavor.
On Posture, Balancing and Alexander Technique:
“She used imagery like it was the cure for cancer. Nothing was solid information that seemed to make sense with how the body actually functions ideally.”
— Floyd
On students taking responsibility for their training:
“The world of vocal pedagogy needs a massive overhauling and students need to do what it takes to get the proper vocal training. They cannot just accept going to a school that supposedly has a great program when the fact of the matter is [it does not]. People need to prioritize.”
— Mr. Cafiero
