Dear Editor: LOVE IT!! I am now a “stay-at-home mom,” with a 3-year-old and 1-year-old. [Your publication] helps me feel connected to the classical music community. Thank you! —Bethany Neese,
Traditionally, our May issue has something in it to help focus singers’ attention on the family—and this issue is no exception. We have two articles for those of you—both men
A new recording of Wagner’s Tristan und Isolde features CS’ cover story Susan Marie Pierson as Isolde. Read on to find out if this CD is something you want to add to your personal collection.
On Jan. 9, the day after Susan Marie Pierson had sung the title role in a fabulous performance of Elektra, I met her for lunch at the luxurious Four Seasons Hotel in Austin, Texas. After eating “Hippie Salads” with a wonderful assortment of greens, we chatted about how she got to her current position as a leading dramatic soprano who sings in major opera houses around the world.
As an English major and pre-med student at Harvard, Ethan Herschenfeld never considered opera. But his vocal talent and natural charisma on stage led him on a path of study and training that culminated in debuts with companies like San Francisco Opera, Florentine Opera and San Diego Opera.
How many singers would have loved to have quality vocal and dramatic instruction available during high school? Well, Houston Grand Opera has created a program with just that in mind. Karen Reeves shares with CS readers how what was once just an idea for a high school age young artist program has become a reality.
The Virginia Opera is a regional company with some Met-sized ambitions and in recent years has mounted some fairly hefty productions. Read about their most recent undertaking with their Virginia premiere of Tristan und Isolde.
Sight-singing skills have become increasingly important—as anyone can tell from getting to know singers on the scene today, such as Timothy Noble (see April ‘05 cover story). Liz Fleischer will be at the CS convention to teach an easy way to learn sight-singing.
After 33 years as head of HGO, David Gockley leaves an award-winning legacy behind as he looks to new opportunities as the recently appointed general director of San Francisco Opera. Here he shares with CS readers thoughts on his own failed singing career, the issue of age for aspiring singers, and some of the secrets to his success.
Watching her family develop their artistic talents has helped this singer realize the individual benefits of her art.
“We wanted to create a concert that engaged people in such a way that both emotion and technique could be acknowledged—and then set aside—so that the music could simply be enjoyed.”
Have you ever wanted to combine your patriotism and musical talents? As the nation’s largest employer of professional musicians, the U.S. military offers a wide variety of opportunities to do just that with some great benefits to boot.
