Dear Editor The article “Strategies for Success—Landing a Tenure Track Teaching Job,” in your September 2002 issue, gave much valuable advice to those seeking voice teaching jobs in a college or university. However, I believe that the author could not have studied the statistiCS regarding the very strong suggestion that a DMA degree is now a necessity in order to be hired on a tenure track.
At the university where I teach, a recent opening was awarded to a fine artist/teacher without a DMA, upon the preference of all concerned, over a candidate with a DMA.
I am acquainted with many artist/singers, from my past professional career as an opera coach, who are now excellent teachers in colleges and universities and who have recently been hired without DMA degrees. Some, in fact, do not even have Master’s degrees, and several have been tenured.
Some colleges and universities may indeed require the DMA in order to consider voice teacher candidates on their “short list,” but there are many opportunities for those without the DMA in other (or most) colleges and universities. The bottom lines for hiring are, in reality, a love of teaching, some teaching experience, and, yes, the “equivalent (of having a DMA) professional experience” as is most often listed in the job descriptions. Most important are also the personal qualities of the candidate—i.e., how he or she will fit into the needs, desires, personalities, and curriculum of the department at the particular college or university.
I personally know one very successful career singer who, thinking about a future teaching job, was outraged to read in CS about this DMA “must.” Successful career singers who are thinking of applying for college or university voice teaching jobs should not be misled or distracted in their teaching job pursuits by this article.
—Martha Gerhart, vocal coach/teacher at SMU, Dallas, TX
The research done for this article was accurate from the very small sampling done at the NATS convention in San Diego this year. You are correct that it was not an exhaustive scientific study however. This sounds like a wonderful topic for a doctoral student. Any takers?
—Editor
Dear Editor As a 32-year-old soprano, this would have been my last chance to audition for the Metropolitan Opera National Council Auditions, even if they kept the same age standards as they did this year. However, I was disturbed when I got my application and read that this is the last year the upper age limit will be 33. According to the letter that accompanied the application, next year the upper age limit will be 30. I’m a lyric coloratura, but I know many big-voiced mezzos, dramatic sopranos, tenors and basses whose voices were nowhere near ready at age 30! I’m very surprised that MONCA is doing this and would love to hear from other singers on this issue.
—Kristina B. Valcarce, Soprano
Dear Editor I am writing regarding the “Curtain Call” which appears in September’s issue of Classical Singer. I don’t understand the connection between Mary Kay Cosmetics and the “skin of a rhinoceros.” Is the implication that Mary Kay is associated with unattractiveness? A great many aspiring singers rely on second careers to support themselves. I have been a Mary Kay beauty consultant for several years, and I feel the reference in the cartoon was offensive. I don’t believe it is proper to impugn the reputation of a company in a cartoon for mere comic effect, especially when it is apparent that the cartoonist knows little about which he (she) is making a parody. Moreover, many singers I know either use Mary Kay or sell it and find the products to be of extremely high quality. I hope that in the future, Classical Singer can find a way to make a point through comic relief that does not rely on misplaced criticisms.
—Andrea Gregori, via e-mail
The notion was that Mary Kay cosmetics are so good, they could even help someone who had the skin of a rhinoceros. Singers, sometimes thin-skinned, have to learn to have a tough hide. Mary Kay can soften the hide. It was supposed to be a good thing for Mary Kay, not a bad thing. But I can see how you could take it that way.
—Editor
Dear Editor Although I still enjoy the magazine, I liked it better when you were smaller, more informal. It felt like family. Now it seems another version of Opera News. Thanks. I guess we all have to adapt to growth.
—Cantor Miriam Eskenasy Miller
Dear Editor I love this magazine. I was delighted to read that some teachers are confessing to the abuse of singers—young singers! I have had to straighten out so many damaged singers. Thank you for bringing this to the surface.
—Bettye Gardener, Houston, TX
Dear Editor I couldn’t live without the service you provide. Keep up the great work!
—Anita Lyons, St. Paul, MN
Dear Editor I read CS and have benefited from it, but it’s really stuck in an old world perception about professional singers. A singer has many options at any age. I am 49 and make an excellent living from my work. I sing a varied rep.—jazz to opera musical—and have 150+ clients through my teaching. It’s a great life.
—Deborah McQueen, Livermore CA
Dear Editor I love the changes you’ve made since moving. The magazine is now a great info source, not just sycophantic pandering to the already famous.
—Christine Thomas
Dear Editor Bravi to all! You have become the premiere magazine the aspiring young singer cannot live without.
—Ashleigh Rabbitt, New York, NY
Dear Editor We like articles that give information about singing and singers’ artistry rather than profiles focused on the person/celebrity of the singers.
—Larissa Swenarchuk, Toronto, Ont.
Dear Editor Thank you very much for all your work and efforts. I enjoy your publication every month. I’d love to see more articles analyzing particular arias or operas in terms of interpretation as well as theoretical background, filling gaps college education leaves. Thanks again!
—Name Withheld, Westport, CT
Dear Editor I would love more articles and ads from areas outside of New York. I live in the Southwest (NM) and would like to know more about opportunities in this part of the US. Thanks. I love your magazine.
—Cindy Sadow, Taos, NM
Dear Editor I found most of the articles written in a very juvenile style when I first started to receive the magazine, and I hardly ever read them.
—Letitia Stevens, MA
Dear Editor The General Interest Forum seems to be mostly NYC forumites. I’d like to see a ranch for other regions like West Coast, Chicago, DC. It’s frustrating to see postings like “Let’s meet at the coffeehouse on 145th Ave,” no city. That’s as if the whole Classical Singers’ world were in NYC only. We singers in other parts of the country would like some recognition too.
—Frances Lai, Alameda CA
Dear Editor Classical Singer is a truly significant publication dedicated to serving singers, both amateurs and professionals. It is to be highly recommended. Keep up the good work!
—Ryan Edwards, former Metropolitan Opera baritone, currently President of National Opera Association, Evanston, IL
Dear Editor Publish more space on the singers of the past. Where are they; are they still alive? Can we get in touch with them? They still have invaluable things to say to young singers.
—Mario Laurenti, Clearwater, FL
Dear Editor I appreciate the articles on older singers who are excellently trained but not known! “Doing your own thing” can truly be the most rewarding kind of performing. How about tips on interviewing for college and university positions?
—Kathleen M. Allen, Madison, WI
Dear Editor Wonderful! An essential tool for today’s professional singing artist. Keep it up!
—Dennis Blackwell, New York, NY
Dear Editor Please make more effort to publish auditions in the Midwest.
—Celeste Martino, Western Springs, IL
Dear Editor I appreciate your magazine. Your choices of materials and your professional attitudes. My students eagerly await the arrival of each Classical Singer edition.
—Joan Wall, Texas Woman’s University, Denton TX
Dear Editor I would like to be able to search auditions online by state or region.
—Elizabeth Finkler, San Jose, CA
Dear Editor Marvelous, marvelous magazine. Right on track as far as providing advice and inspiration. Continue to emphasize the fact that we have a gift, should consider ourselves very blessed, and that we have a solemn obligation to give our gift constantly to a world in desperate need of beauty and grace. We should not seek fame and fortune but truth.
—Adine Kazyak Ordonez, Springfield, VA
Dear Editor The cost of Classical Singer has certainly gone up! It used to seem like an easy decision to keep getting it. The only reason to get it is the audition list. Most of the articles I skip. They all seem to be about one neurotic singer after the other.
—Jennifer Sheldon, NY, NY
Dear Editor I find the CS articles to be very informative. I particularly like the article on what to look for when searching for private voice teachers. I will share these articles with students.
—Raymond Jordan, Englewood, NJ
