Soprano Rochelle Bard, first-place winner of the Professional Division of the Classical Singer AudComps ‘07, shares how she overcame her stage fright, how she made her most “cried-over” aria her new favorite, and how she has learned to be “in the moment” as a performer.
Often in the midst of the ups and downs and high pressure career of classical singing we can lose ourselves, blurring the lines between our identity and our profession. Read about five tools to help strengthen your core—that inner sense of who you are—leading to a healthier and happier you, both on and off the stage. Be sure to join Debbie Riggs Wood for more discussion on this topic at the Classical Singer Convention ’08 in New York City, May 24-26.
I’ll never forget my first trip to Brooklyn. I was in town for an audition and my boss had arranged for me to stay with her sister, who lived in
Each month CS highlights one of its readers. If you’d like to take Center Stage in an upcoming issue of Classical Singer, visit www.classicalsinger.com/magazine/center_stage/. Tell us about yourself, and upload a picture. We want to know about you!
Tell us how we’re doing. Tell us about the articles that have helped you and articles you’d like to read. We would like to publish your comments, received either by e-mail at editorial@classicalsinger.com or in the mail at P.O. Box 1710, Draper, UT 84020.
Submit entries to the bulletin board by e-mail at bulletinboard@classicalsinger.com.
Rather than sit back and enjoy retirement at his lovely Florida home, baritone Sherrill Milnes has chosen to continue his career, this time working behind the scenes, inspiring and helping the next generation of singers. In this exclusive interview, Milnes shares how growing up on a farm influenced his singing career, what he sees as the major pitfalls for emerging singers today, and what a typical masterclass with him entails. Join Milnes and his wife, soprano Maria Zouves, for masterclasses at this year’s Classical Singer Convention in New York City.
When CS went shopping for an article on the basic ingredients of the Bel Canto style of singing, we turned to a true expert on the topic, Metropolitan Opera assistant conductor and prompter and founder of the Bel Canto Institute, Jane Klaviter. As Klaviter says, it’s really best to see the techniques worked out live and in person, and you can do just that at this year’s Classical Singer Convention. Work with Klaviter in two Bel Canto masterclasses, May 24 – 26 at the Brooklyn Bridge Marriott Hotel in New York City. This article first appeared in the January 2004 issue of Classical Singer.
From writing a prompt thank-you note, to sending a gift, to knowing how to clearly express what you need, Cindy has five great tips for an inevitable part of this business: asking a favor. Do you have a question for Cindy? E-mail erda@classicalsinger.com.
Soprano Andrea Huber brought down the house at the Classical Singer Convention ’07 Opening Session with her performance of Johann Strauss Jr’s “Schwipslied.” No one could forget her stunning singing, or her brilliant use of very a simple prop: a champagne glass. Here she gives more insights into how to use props to bring your performances and characters to life. Don’t miss the chance to meet and work with Andrea Huber at this year’s Convention, May 24-26.
Are you looking for ways to improve your singing and performing? Consider five classes designed to make your instrument the best it can be, offered at this year’s Classical Singer Convention.
Teacher extraordinaire Cynthia Munzer has spent years developing what she calls “organic artistry.” Discover some of the principles of artistry that result in honest, sincere singing which can truly move an audience. Join Munzer at the Classical Singer Convention this May to see these principles in action.
