Dear Editor: Would it be more cost effective to distribute the magazine electronically? I receive other “e-zines” and it’s a better use of information and natural resources. Let’s pass on the savings to more and improved Web services. Thanks!
–Barbara Smith Jones, WA
Our recent survey proved overwhelmingly that singers prefer the print version of the magazine. However, the “e-zine” version is available to all subscribers on the first of every month on our Web site at www.classicalsinger.com. You’ll need the password you were given when you subscribed. In addition, auditions and competitions are constantly updated. In fact, an interesting phenomenon is taking place in the magazine in that many auditions never even have time to make it to the print version! Companies are getting used to the ease of being able to list auditions at the last minute. Singers who are doing the audition/competition circuit should check the Web version of the magazine frequently. You can also sign up to be notified by e-mail of auditions that meet your needs. See the top of the Web pages for “audition alerts.”
–Editor
Dear Editor: I love feeling like a member of a community of singers through your magazine. We have to support each other in order to keep any sort of culture alive.
–Name withheld, New York, NY
Dear Editor: I would like to suggest that CS consider interviewing someone from the holistic healthcare field in addition to the series of articles by Dr. Jahn. With the prevention of illness being our key to success, shouldn’t we include more info on that subject? –Name withheld, New York, NY
Dear Editor: I love your magazine. I’m so thrilled to see it in my mailbox! I always turn to Dr. Jahn first. I would love to see an article on the best Web sites people have found which pertain to our art. Why have everyone reinventing the wheel?
–Elaine Crane, Rutland, MA
We hope you enjoy the review of www.OperaMom.com in this issue.
–Editor
Dear Editor: I’d love to see an article about the spinto voice; also, more about coping with allergies, older singers entering the professional realm, and what opportunities and challenges there are.
–Sarah Agler, CA
Dear Editor: Having come later in life to classical singing, I find it refreshing to receive a magazine devoted to those who share a passion for and deep interest in the well trained singing voice. I would like to see more debate on technical aspects of singing, such as different understandings of bel canto, baroque versus classical style of singing, crooning versus a supported, unamplified singing and so forth.
–Ronald Jalbert Ph.D., Aspinwall, PA
Dear Editor: Great magazine. I like articles by singers and teachers, tips on using the voice and singing arias. I like the doctor’s column on what affects the voice.
–Carole Lunde, Lee’s Summit, MO
Dear Editor: Thanks for the tax articles. It was sobering thinking that my poor recordkeeping was causing me to lose 33 cents on the dollar.
–Name Withheld, New York, NY
The following letter was sent in response to AGMA’s Alan Gordon’s article on age discrimination in the September 2001 issue.
Dear Editor and Alan Gordon: Because of our high visibility at auditions, it is impossible for the persons ultimately doing the hiring not to see our age and race. There is also another issue, which is never addressed, and that is nepotism. It exists and is alive and quite well. It is my considered opinion that you will never be able to correct these problems as long as auditioning is continued the way it is done now. The most likely excuse given to older singers for not being hired is, “Your voice needs work,” or “You don’t have the right appearance I’m looking for.” As for age discrimination, how about attacking the issue of all competitions, which state an age after which one cannot compete? How does one fight that? The stating of age parameters in ads such as those in Classical Singer would also qualify as discrimination of the highest degree. When I was hired to do extra chorus work at the Met, the application/questionnaire had on it: “age.” I did not answer it and if I did, my comment was “NA.” I received a phone call telling me I had to fill it in. I told the gentleman that asking my age was illegal. His reply was, “ I know, but we have to have it.”
What comes to mind next are several situations in which nepotism played a large part as to whether or not one got the main role or a comprimario part. This situation occurred with a conductor I have known for quite a few years. I wondered after not getting the main roles for several performances just why the other person was chosen. Just this last year I found out the other person went to school with the conductor. Now tell me how you stop this type of situation. You can’t. Nepotism goes on in New York at the Met, City Opera, Opera Company of Philadelphia and probably just about every other opera and choral organization you can name. I am about 90 percent certain that the above nepotism played a huge part in not being rehired at the Met, especially when the comments from those in the regular chorus were, “Are they crazy? We need you. You are the only one we can hear.”
As to age, race and nepotism discrimination, there is only one way to stop it, in my view. I don’t believe AGMA has thought about it and if they have, an excuse has been given not to put it into practice either by AGMA or the other opera companies. Our “sister” union uses this blind method probably all the time. It is just about a standard practice in and with the musicians union and symphony orchestras. Your name is not known. You are given a number and play behind a screen. You are asked to play your instrument and to play different numbers, and are judged by the auditioning committee on your ability as a musician. As a result of this method, I now see in those symphony orchestras with which I perform, more women and black instrumentalists. Had this “blind” method of auditioning not been in place, this would not have occurred as quickly. The opera companies would have to audition us the same way, otherwise the prejudice and illegal goings on will never stop.
–Charles I. Wurster, Jr.
