Will Liverman’s international career as a singer spans new music and standard repertoire. Here he shares his strategies for learning as well as his delving into composition with CS. He also imparts the wisdom of a true artist for developing nuance in all of the repertory he performs.
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
Known for its history of manufacturing, sports teams, and being home of the Rock and Roll Hall of Fame, Ohio, the country’s 34th largest state, also offers an array of operatic experiences.
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.
With Sharon, I have explored the joys of collaboration far greater than with any other colleague. Performing together for almost 10 years, I have commissioned songs, and she has written for and dedicated songs to me. What a gift!
Dr. Jahn answers questions about throat health and the voice.
Have you ever experienced an off day with your voice, with no explanation you can think of? You’re not alone. Most singers face this predicament multiple times in their career. I, for one, experience this more frequently than I would care to admit. Our voices are part of our bodies, and our bodies are constantly adapting according to our circumstances and current state of being.
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).
The ARC of Auditioning is a new monthly column offering behind-the-scenes insight from a seasoned casting director. With practical wisdom and candid reflection, Duncan Stewart will bridge the gap between classical/conservatory training and the real-world audition process.
I’ll be honest, I started teaching voice the way a lot of people start teaching voice: I found myself with a MM and at a year-long YAP, I didn’t have a ton of time or work experience except singing and knew that I could make a little extra cash teaching voice.
Similarly, there are artists who give “perfect” performances and those who give “excellent” performances. Technically, these performers might be at the same level, but the experience they offer is like night and day. That’s because perfectionism and excellence come from completely different places and lead to completely different outcomes.
