Jennifer Larmor advises singers about repertoire choices, when to say 'no', dealing with stage directors, singing in Europe, building a career and more.
You say ‘Foo-TRAHL’, she says ‘FEW-trull’ — but don’t call the whole thing off just yet! Instead, read what this fast-rising soprano has to say about education and preparation, creating new roles, following in the footsteps of Beverly Sills, surviving a well-publicized nude scene, and never—well, hardly ever—reading her own reviews.
Patricia Racette combines the elements of heart and soul with the discipline of the body, mind, and spirit.
Top vocal coach Kathy Olsen likens the secret of giving successful auditions to the secret of getting to Carnegie Hall: Practice, practice, practice!
CS reviews Anna Bartos' album of Spanish and South American songs accompanied by guitarist Gregg Nestor.
Although tenor Marcello Giordani has learned from excellent teachers, he has taught himself even more through trial and error on the job.
At her most recent concert at Carnegie Hall, Ewa Podles (pronounced Eva PODD-lesh) brought the audience to their feet in an uproar. Her bold Baroque performance, with three-octave runs and explosive high and low notes, was hailed by the press and the public alike as a thrilling throwback to the early 19th Century. The naysayers, who complained that the style was not currently correct or even allowable, were drowned out by the general roar of approbation. Two days before the concert, Madame Podles received an emissary from Classical Singer in her hotel suite where the following conversation took place.
If it’s not one thing, it’s your mother!” The first time I uttered this phrase in exasperation, my mother loved it. She cracked up, and we have laughed about it
Dramatic soprano Renate Behle has found joy and satisfaction in teaching a gifted young tenor, her son Daniel
Leading and emerging singers pay tribute to Maestro Eve Queler on the 30th Anniversary of the Opera Orchestra of New York.
Italian conductor Carlo Rizzi discusses his crusade against bad operatic “tradition,” reveals what he looks for in singers, and explains what he was attempting in his controversial Il Trovatore performances at the Met.
United States District Judge Richard Owen divides his time between trying cases and composing operas. His wife, soprano Lynn Owen, provides the inspiration.
