Musiktheater Bavaria trains singers in both musical theatre and opera during four weeks each summer in beautiful southeastern Germany.
What is the difference between a school of music and a conservatory? A department of music and a school of music? Professors at all types of schools outline what prospective students can expect at these various institutions.
Stage directors and opera company administrators discuss the rehearsal process.
The National Opera Association’s competition offers a national stage for singers and their schools in a very unique way—the competition is only for opera scenes. Find out more about this exciting opportunity for colleges and singers alike.
The year 2015 marks two remarkable milestones for the legendary Sherrill Milnes. This month the baritone celebrates his 80th birthday, and in December it will be 50 years since he made his Metropolitan Opera debut. Since then, he has sung nearly all of the major baritone roles on stages the world over. Always committed to teaching and education, he continues to draw on his vast experience to fill a void for the next generation of singers through his VOICExperience Foundation. Read about Milnes’ life and career, what he considers the “golden age,” and his newest endeavor: the Savannah VOICE Festival.
Get an insider’s view from music critics themselves about their thought process during a performance and while writing about it afterward.
Four singers and a registered dietician share tips for diet, exercise, and rest on the day of show to help you sing well whether your performance is morning, noon, or night.
Singers share what they do and don’t think about before and during an audition, including how they manage nerves when things don’t go as planned.
After 22 years in the role of Wagner’s Wotan at the Met, bass-baritone James Morris recently hung up his eye patch for good—at the Met, anyway. Knowing when to say when is just one example of the practicality with which Morris forges his career. He allowed his Italian training to educate his German singing, bringing a legato to Wagner that has made him legendary. Although Wotan remains, perhaps, his best known role, Morris has sagely made sure it is not his only role—a decision that has kept him singing all roles with more ease. And while many of his decisions have been carefully calculated, singing Wagner couldn’t have been more of a surprise.
Saying “yes” to an offer to sing a role can seem like a no brainer. And yet, saying “yes” can sometimes be detrimental to both voice and career. Singers, YAP directors, and managers weigh in on how to determine if a role is right for your voice.
What does it take to sign a record deal? How does recording differ from singing live in a hall? How can a singer prepare? Greg Waxberg interviews singers and recording executives for the answers to these questions and more.
When it comes to being a singer, communication is key. But often some of the most important dialogue is done without accompaniment. Being a polished professional means never missing a chance to make a good impression, whether in person or on paper (and computer screens, too).
