Taking a lesson from popular TV show Ted Lasso, read on to find cheerful ways to believe in yourself and your music making abilities.
As we head from winter into spring, I always feel that singers, like the birdsongs our pieces often imitate, burst joyfully out into our spring and summer performances. I’m particularly
Read on to learn about how to include more works by women composers in your recitals as a student and as a voice teacher.
In the November/December 2021 issue of Classical Singer, I offered a review of Oxford Solo Songs: Christmas, a new anthology of seasonal songs published by Oxford University Press.
Summer stock audition season is beginning with audition conferences and other audition opportunities. Read on to learn best practices for getting these summer performance jobs.
Learn here how to go beyond the numbers and use social media as one more powerful tools of communication in your artistic toolkit.
Technology updates abound that can help classical singers with their education and careers. In this article, learn about new apps that can help you succeed, including the new CS Music App.
Crossover artists must balance the expectations and requirements for acting in both opera and musical theatre. In this continuation from the September/October issue article, learn more about the rehearsal process and performance expectations.
Addressing important issues of acting methods, this publication is a much needed resource that rectifies a homogeneous approach to acting through history, critical commentary, and methodologies.
Four books from Compton Publishing delve into vocal pedagogy, vocal health for educators, singing for those with Parkinson’s disease, and the larynx. With ten years of publishing for academic and professional books and media, Compton Publishing releases an array of publications for voice professionals.
Diversity in choral repertoire, like the repertoire for solo singers, is a constantly evolving canon. For voice teachers and choral conductors alike, adjustments to curriculum and programming broaden not just the repertoire itself, but historical understanding of compositional techniques.
Crossover artists must balance the expectations and requirements for acting in both opera and musical theater. Training differs for singers in each genre because each prioritizes expression differently.
© 2017 Copyright CS Music. All Rights reserved.