For those looking to work in Europe, AIMS can help make this dream a reality. Hear from faculty and an alumna about the many offerings of this program and what you can gain from a summer in Graz.
It’s summer. Time to get into the hammock and sip a cool lemonade as you catch up on your reading. Here are two wildly different approaches to “filling the well”
Sonya Yoncheva is not afraid of taking risks. At the beginning of her career, she prepared a role unknown to her in only three days and repeated this practice with many other opera houses. She is also vocal in challenging the social traditions that exist in the opera world to create change for the next generation of opera singers. Read her thoughts on bridging the generational gap in opera, the value of family as a performing artist, and on being true to herself.
Joanie Brittingham takes a hard look at the financial realties for singers—including salary realities and the heavy burden of student loan debt. She then offers tips for making ends meet when money is scarce.
What kind of roles do donors play for opera companies? And what is a singer’s obligation to said donors? Find out here, including how to make small talk and when and what kind of thank you notes to write.
From what to charge to how to find students to how to get them to pay and keep coming, established singers/teachers share the ins and outs of beginning a private studio.
Five managers discuss what they look for in singers they sign to their rosters and the dos and don’ts for a good working relationship once signed.
Three singers who hold a doctorate of musical arts discuss the benefits, misperceptions, and challenges surrounding this degree.
Does the thought of a musical theatre dance callback leave you shaking in your jazz shoes? Find out what you need to know to both prepare for and perform better at your next movement call.
Singers and directors weigh in on the delicate art of canceling a gig, including when it’s OK and how to best mitigate the potential fallout.
What do you do when the diva isn’t a fellow singer but the conductor or stage director and there seems to be no pleasing them? Get practical advice from singers on how to remain professional and deal with difficult people in such situations.
Singers have Young Artist Programs to help them make the leap from student to professional. But what about up-and-coming composers? How do they get the training needed to successfully write operas? A New York City-based organization is providing just such training.
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