At some point, you may be responsible for the care of elderly family members and, eventually, you must plan for your own care in later years. Learn more from a voice teacher balancing the difficulties of both her own career while also caring for her elderly mother.
For many of you, the past few months have included auditions for undergraduate or graduate programs. With so much going on, taking time to reflect seems nearly impossible. And yet, reflecting is critical for artistic growth. Read on to learn more about how reflecting can help you as an artist.
Choosing recital repertoire is an art form that many wonderful artists have been chronicling for decades. Read on to learn about how to include more works by women composers in your recitals as a student and as a voice teacher.
Sharon Stohrer’s second book on performance anxiety aims to help singers strategize their way to more confident presentations.
Undergraduate and graduate students and teachers can find excellent German repertoire suggestions in the continuation of our “Unexpected Repertoire” series.
I frequently ask performing artists at all levels this very important question: “Where in your career or training have you had an in-depth explanation of the causes of and cures for stage fright?” Read on for tips on how to manage performance anxiety effectively.
A new book provides insights on creating gender-affirming voice studios.
Could versus should: One of my favorite things to say to voice students and friends is “Don’t should on yourself.” And I need to regularly remind myself of the same. I’ll overhear a teacher working with a student on a piece I’ve forgotten or a song from a new musical and think, “I should assign this to so-and-so” or “I should learn this music” or “I should start singing Purcell again” or “I should do a lecture recital.”
Soprano Jennifer Piazza-Pick and clarinetist Natalie Groom formed a duo, Whistling Hens, which commissions women composers for their ensemble. Learn more about how they formed, their process, and the rewarding, exciting work of these two women in chamber music.
Singing is not known to be a “forever” career. Moving from a performing or teaching career to an entirely different field does not negate the successes one gains in music, but the skills we learn on the operatic stage transition well into alternate career paths.
Fear is a natural part of being a performer. In this month’s “Crossover Corner,” we learn how to run toward our fears to discover the new in our art and bring magic to our creative efforts.
For many pursuing a professional singing career, to teach or not to teach is a very tough question. Is it possible to balance teaching with my singing obligations? Will I be able to teach and still have vocal stamina? Can I teach if I’ve never done it before? The answer is a resounding yes!
