In this column, we explore singers to watch, celebrate new albums, note new resources for singers, and other industry changes.
Fear of being misunderstood hijacked most of my life. I yearned to be a digestible bite, easily served up to impress a stranger at a dinner party. But, no matter how hard I tried, I’m just not someone that can fit into a box.
Soprano Mary Elizabeth Williams and executive advisor Barbara Massury begin a series of conversations on resilience, agency, and fulfillment. Follow along as this series unfolds.
For young singers, the path between the first voice lesson and a performing career can be overwhelming. In this step-by-step article, discover tips for taking charge of your learning.
If you are considering a DMA, read on for reasons to pursue it, what to expect, how to prepare for application, and more from a singer currently in a DMA program.
The eternal dilemma for performers: how to support themselves while they're getting a career off the ground. From the May issue of Classical Singer, Cindy Sadler discusses how to get a job that allows you to pay off your loans while working in a related field and still getting to do some performing.
I had the immense privilege of judging the majority of the Musical Theatre competition at the CS Vocal Competition in Chicago. I heard so many impressive voices in both the
Even three years out of school, I still get that “first day” feeling the moment this time of year rolls around. There’s something about the crisp air, fresh lineup of planners at Barnes & Noble, and the quiet hum of people easing back into their routines that makes me feel like we are collectively turning a page into a new chapter.
When I wrote about confidence versus self-worth in Part 1, I thought I was closing a thought, but in the weeks since, I’ve found myself returning repeatedly to the concept of worth: observing how it shows up in my conversations with producers, creatives, actors and ultimately in my own day-to-day life as well.
Edwards has returned to his previous work for revisions and additions, all of which appear in the new So You Want to Sing Rock. In the interview below, Edwards outlines what readers can expect from the new volume and explains some of the impetus behind the changes and inclusions.
Across all fields—whether you are a performer, a speaker, an athlete, or a leader—the most magnetic individuals have one thing in common: they are fully here. Presence is the invisible force behind true impact.
As applied voice teachers continue efforts to diversify the vocal canon and highlight underrepresented composers, one significant name still often overlooked is Isabella Colbran (1785–1845).
