Read what the singers involved in the world premiere of Louis Karchin’s new opera, Romulus, have to say about the experience, including their advice for attempting chamber opera in your area.
Working with a living composer on the world premiere of a new work can be exciting and challenging. Composer Louis Karchin and a group of singers recently showcased his new opera in New York City. Karchin shares his advice for making such a project a success.
Soprano Sheri Greenawald has graced the world’s finest opera stages—including San Francisco Opera, the Metropolitan Opera, Lyric Opera of Chicago, La Fenice in Venice, and the Bavarian State Opera. In recent years, she has also worn the hats of voice teacher and college professor and recently added the hat of administrator with her appointment as director of the San Francisco Opera Center. Greenawald will continue giving back to young singers, as a featured presenter at this year’s Classical Singer Convention.
Upon his recent retirement, Joseph Volpe handed the reigns to Peter Gelb, making him the new general director of the Met, America’s premier opera house. With big shoes to fill, Gelb’s vast experience in production has prepared him well—and he has big ideas for change and improvement at the Met. In this Classical Singer exclusive, Gelb shares how his parents helped shape his cultural interests, how his early years as an usher at the Met have influenced his ideas for generating excitement within those walls again, and why he advises singers to think of opera in terms of “musical theater.”
The face of Houston Grand Opera’s Studio recently changed, with two new appointments: Hector Vasquez and Kathleen Kelly. As Diane Zola becomes artistic director of HGO, Vasquez and Kelly discuss their new roles with HGO’s Studio.
In this issue about Young Artist Programs, we shine the spotlight on the Houston Grand Opera Studio. Read about the logistics of the program, and about the exciting new changes happening at HGO.
A modern-day pioneer, Dan Montez began Taconic Opera eight years ago. Montez’ dedication to his family led him to leave behind a traditional singing career and look for alternate ways of making a living while still being actively involved in opera. His regional opera company is making this ideal a reality for other singers, too. Read what Mr. Montez looks for in singers he hires, what advice he
has for singers—including avoiding negativity and how to set goals—as well as how he manages all aspects of his opera company, from artistic direction to marketing.
Truly a modern-day renaissance man, José Cura continues to astound audiences, whether it’s from the podium or the stage. A self-described “rebel,” Mr. Cura has done things his way, from starting his own management and recording company to being a self-taught singer. He shares with CS readers how being an athlete before becoming a singer has influenced his view of singing, what he does to ensure that he does more than parent his two children via the phone, and what type of music he prefers to compose.
From San Francisco Opera, to Houston Grand Opera, to the Shanghai Conservatory, Patrick Summers has enjoyed a successful and varied career as a music director, teacher, and conductor. In this Classical Singer exclusive, he shares his secrets for having a career as a singer, his amazing experiences working in China, and what he looks for in an audition.
Ever wondered what goes on behind the scenes in an audition or competition? Or what the judges have to say once you leave the room? Cristina Necula got an inside look at part of the combined audition/competition AudComps at this year’s Classical Singer Convention. From her insights, as well as those of two of our distinguished judges, you can learn what to do—and what not to do—at your next audition.
Pursuing a singing career may have seemed the obvious choice for Renée Fleming—after all, both of her parents were voice teachers—but her path to stardom turned out to be neither direct nor ordinary. Diversions along the way included studying music education and singing jazz. Eventually, however, this two-time Grammy award winner made her way to the top, even if not by the most direct route—although, as she shares in this Classical Singer exclusive, being at the top isn’t always all it’s cracked up to be.
After 33 years as head of HGO, David Gockley leaves an award-winning legacy behind as he looks to new opportunities as the recently appointed general director of San Francisco Opera. Here he shares with CS readers thoughts on his own failed singing career, the issue of age for aspiring singers, and some of the secrets to his success.
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