Opera Company Founder Dies Bass-baritone Benjamin Matthews passed away Feb. 14, at the age of 72. He sang with a number of major opera companies, including the New York City
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!
Dear Editor: I just wanted to thank you for the issue [February 2006] devoted to singers with families. I gave birth to the most precious baby boy in November, but
A few years ago, I attended a reception following the finals of a District Metropolitan Opera audition. Before the winners were announced, the head judge asked to say a few
Classical Singer first featured Lawrence Brownlee in an interview with David Kubiak in March 2002. We caught up with him again last year during his performance as Count Almaviva in a Teatro de Madrid production of Barber of Seville. The late CJ Williamson, who had been observing with great interest the meteoric beginnings of what promises to be a brilliant career, commissioned this interview. She was especially interested in the technical aspects of the development of Mr. Brownlee’s extraordinary voice and prompted some of the questions in the interview.
This month concludes the Classical Singer spotlight on the 14 singers named Certified Singers at the 2005 AudComps. This month we spotlight Cortez Mitchell and Jason Kaminski from the Young Artist Division. Stay tuned for the announcement of the 2006 – 2007 Certified Classical Singers, to be named at the Classical Singer Convention 2006 in Philadelphia at the end of this month.
CS takes a moment to remember legendary soprano Anna Moffo, a glamorous woman with a rich, clear voice who made Mimi, Violetta, Madama Butterfly and other roles come alive for her fans.
After enjoying a fine European career, gifted teacher and soprano Louisa Panou Takahashi Welty spent much of her life giving back to young singers.
Getting a great recording is critical, regardless of your career level. Sometimes the task can be overwhelming— most singers aren’t recording engineers! So CS asked one expert, who happens to be both a singer and an engineer, to give you the questions to ask at every stage of the recording process, to make sure your time and money result in a product you are proud to have bear your name. Your perception is the fundamental key to your decision-making process in each phase of your recording project. Don’t miss Zoe Vandermeer’s class at the Classical Singer Convention 2006, May 18-20 in Philadelphia.
In an industry where jobs are dwindling, creating your own performing opportunities is critical. Two New Yorkers did just that, not only for themselves but for other musicians, too. Read about this recent addition to the Big Apple’s music scene: New Music New York.
Classical Singer recently received a number of letters regarding the Southeast Auditions sponsored by Joanne Corbett-Barnes of Arts Management Services. The auditions were scheduled for Atlanta this past November, postponed to December, and ultimately cancelled, just two days before the rescheduled auditions. Joanne Corbett-Barnes told singers she was forced to cancel the event because she was unable to find a suitable accompanist for the auditions. A similar scenario occurred earlier in 2005 for her Southwest Auditions in Texas. The opinions expressed below are entirely those of the letter writers. CS contacted Joanne Corbett-Barnes for her side of the story; she responded with a memo, posted on her website, explaining the cancellation, also printed below with her permission. We invite all singers to read these accounts along with Ms. Corbett-Barnes reply to form their own conclusions.
CS attended Sari Gruber’s Alice Tully Hall recital last February, presented by the Naumburg Foundation. In the midst of a thriving career, this soprano shares why she doesn’t like competitions—and why she feels they’re important. Read how she creates a great look for a competition or recital, how she networked in her “pre-management” days, and why her relationship with her accompanist is truly unique.
