November 1998 – All Articles

There are a lot of alternatives open to singers besides front and center stage. One of those is singing in a professional opera chorus. Lina Cotman spoke with several Metropolitan Opera choristers to find out what they think of life upstage left.

Age discrimination allegations plus AGMA insurance news

Our society seems to be growing more and more aware of homeopathic treatments and natural diets and remedies. What should we be aware of when we reach for that megadose of vitamin C? Dr. Jahn explains in this month’s column.

For some people, philanthropy starts early. Here is one college student’s experiences performing on behalf of the José Carreras Leukemia Foundation.

Is regular massage an extravagance, or an investment in your own peace of mind as a busy singer? Singers and massage therapists discuss massage as anything from an occasional splurge to an integral part of their physical routine.

Say the word “budget,” and you can clear a room of companions in 10 seconds flat. Few of us really want to think about budgeting, and we may even consider ourselves to be doing well to have a savings account. But with a bit of work, some patience, and a helping of frugality, it is possible not only to survive, but thrive as a single-income singer. One thing to bear in mind is that singers aren’t like other wage-earners! Our income arrives in fits and starts, and we may have a great month followed by three very lean ones. This feast-or-famine reality is all the more reason to be aware of your financial situation, warts and all. We found a singer who has performed in Europe and many theaters in the United States, but who has the income of a struggling singer and still manages to save. She isn’t a financial professional, but she is savvy, determined, and very practical.

Is correct diction enough? Or are there plenty of singers performing today who think of the international phonetic alphabet as the only language tool they need? Internationally-known recitalist and teacher, Glenda Maurice, writes on the shortcomings of the diction class and the attendant responsibilities of the vocal artist.

In the August 1990 issue of The New York Opera Newsletter, we featured an interview with Wesley Balk, who at the time was about to publish his fourth book on the singer/actor process, entitled The Radiant Performer [University of Minnesota Press, 1986, $18.95 Amazon.com]. In an encore presentation of that interview, Balk’s philosophies speak quite specifically to the process of singers’ communication.

Cynthia Lawrence on preparing Marvin Levy’s revamped
Mourning Becomes Electra in Chicago

The Most Communicative Singer from our website poll at the Classical Singer Community is the inestimable José Carreras. And it isn’t only his marvelous voice that seems to have reached so many of our readers. It is a combination of music, words, characterization–and heart. Here is a sampling of what people are saying about Carreras and our other top-ranked singers.

In preparing for the November issue on the art of communication, Classical Singer conducted a poll on our website asking subscribers to vote for their choice as best communicator today. In this issue we highlight the top five winners of this poll, one of which is soprano Diana Soviero. Ms. Soviero has mesmerized audiences with her charismatic, emotionally-riveting performances of such verismo roles as Manon Lescaut, Nedda, Tosca, Cio-Cio San, and Suor Angelica. She is perhaps the archetype of the singing actress: a marriage of impeccable vocal technique with stunningly effective theatrical instinct and individuality. But beyond those two aspects is an elusive third–soul.

We call it “Audience Impact.” When it happens, audiences lean forward, their eyes widen, and time seems to stop. The performers who make that happen the most often are given the best roles in the best houses, recording contracts, and the ultimate reward: artistic control in productions, in their finances, schedules and in their lives.