From the how-tos of fine singing to staying safe onstage, CS has tried to address every aspect of a singer’s career. In this article, reprinted from the last issue of The New York Opera Newsletter (July/August 1998), fight director Dale Anthony Girard shares his tips for playing it safe. Be sure to check out real-life stories from readers about not so safe moments on the stage (pg. 47). For more articles on safety, read the complete July/August ’98 issue in our archives.
Established in 1957 and operating under the auspices of the San Francisco Opera Center, Merola is the first step in a series of career-building opportunities that include the Western Opera Theater (WOT) tour, the Adler Fellowships, Brown Bag Opera, the Showcase Series, and Schwabacher Debut Recitals.
In terms of education, Susan Graham has experienced just about every different type of program available.
In addition to vocal technique, singers need to be knowledgeable about languages, music history and theory, drama, business, publicity, and marketing, and a host of other widely varied fields of study. Where can a young singer acquire this bewildering array of tools?
The second offering in our continuing review of study aids met with general approval by our panel of professional singers. They found the three-step system well thought-out and implemented, and particularly useful to students who require a diction coach or reperteur.
“Opera almost always has more vio lence on stage than (non-musical) drama. Just about every production I work with, I run into a singer who has been injured in a
JOHN J. MILLER MANAGER “Tapes are one of the least important elements of your package”; says John J. Miller, a former professional singer turned manager, who also writes and lectures
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