It is unquestionably the reigning fan magazine for opera audiences. CS decided to talk to the editor and publisher about future plans with the magazine and the Metropolitan Opera Guild. Building audiences for opera is a high priority for our readers as well, so we salute Opera News and the Guild!
Honest talk on singers and preparation from the conductor who has seen it all.
Cristina Necula sat down with the reknowned conductor Gottfried Rabl
on a summer day last July in Vienna, Austria.
His comments and views are here translated from their conversation in German.
Film director Benoit Jacquot and singers Angela Gheorghiu and Roberto Alagna discuss their experiences in front of and behind the camera on 2002's Tosca.
Joseph Volpe answers questions ranging from how singers are hired at the Met to how he went from being a carpenter to General Director of the greatest opera house in the world.
You won't find these auditions on the pages of Classical Singer magazine, because there are no scheduled auditions for this young artist program; only a very select few are invited to join. Director, Gayletha Nichols explains to Cristina Necula how it works.
The first time I saw Ramon Vargas on stage was in 1999 at the Vienna State Opera, as Edgardo in “Lucia di Lammermoor.” That season, he also sang Nemorino in “L’Elisir d’amore,” so I had the good fortune to witness unforgettable performances of two very different bel canto roles. I was a student at the Viennese Academy of Performing Arts, and little did I know that my encounter with this complex and generous artist would completely change my perspective on singing and on life in general. Perhaps we have all had the chance to meet—at some point in our lives—an extraordinary individual who becomes a mentor, a source of inspiration, and someone whose wisdom and knowledge help us grow not only as artists, but also as human beings.
When I suggested to Mr. Vargas that I would like to share with other singers and non-singers a “condensed” version of the many discussions we have had on the topic of singing and life as an artist, he agreed without hesitation. It is a great honor for me to present this interview as a glimpse into the mind of one of our greatest singers today.
Baritone Dwayne Croft has risen to the top ranks of the international operatic world with a brilliant career encompassing twenty-two roles, more than two hundered performances on the Metropolitan Opera stage, including seven telecasts, including the title role in Billy Budd, productions of Madame Butterfly, The Marriage of Figaro and Fedora.
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