The CS August issue focuses on voice teachers, and this year we are pleased to honor world-class teacher Martile Rowland. In this interview, Ms. Rowland shares how she defied the odds and had a major career— after the “magical age of 30,” and after leaving New York—why she doesn’t believe in a teaching “method,” and why it’s important for teachers to listen “beyond the sound.”
On a warm May afternoon I sat down in a quaint, historic restaurant in the heart of Philadelphia for lunch with Martile Rowland. The Classical Singer Convention had ended the
One evening during the recent Classical Singer Convention a fellow singer recounted the details of her day. It began with her sore disappointment at not advancing to the next round
“Music is the invisible art, the only art that you can’t actually see. It’s all vibration. You have to remember that you’re putting a vibration into the world.” When Steven
Steven Blier is not your ordinary coach. In addition to his private coaching, he is the co-founder and artistic director of the New York Festival of Song. Classical Singer is pleased to honor Mr. Blier as the 2006 Coach of the Year for his many contributions to the classical singing community. In this interview, he shares his process for programming an unforgettable recital, how he got his start as a pianist, and why giving concerts is really a matter of trust, for everyone involved.
A few years ago, I attended a reception following the finals of a District Metropolitan Opera audition. Before the winners were announced, the head judge asked to say a few
My love of all things historic, cultural, and Italian has made Philadelphia one of my favorite places. From Constitution and Independence Halls, to the Kimmel Center for the Performing Arts,
For more than a decade, Ellen Rievman has been changing the way singers view auditions by helping them find and express the full meaning and drama of the music. She’ll be sharing even more at this year’s Classical Singer Convention, at the Sheraton Society Hill Hotel in Philadelphia, May 18-20. Come and learn how to fully connect with the character and poetry to make your performances—and your auditions—unforgettable.
Nestled in the middle of the Northeast Corridor sits the second largest city on the East Coast. Just a two-hour drive from New York City, Philadelphia is its own thriving cultural center—and the Opera Company of Philadelphia is at the heart of things. Robert Driver, the company’s general and artistic director, shares his views on the future of opera in America, on what he looks for in singers he hires, and his views on appearance and age. Join both Robert Driver and OCP’s music director, Corrado Rovaris at the Classical Singer Convention 2006 in Philadelphia.
I recently pulled into a Wendy’s drive-thru and ordered a Big Bacon Classic Combo, only to be asked, “What do you want on that?” The question shocked me. What did
Juggling career and family is not a topic unique to classical singers. Mothers, fathers, sisters, brothers, sons, and daughters in most every profession face the challenge of prioritizing and balancing
By the time an issue of Classical Singer goes to press, I have usually read every article countless times. By the time the material becomes ink on magazine pages, I
