Excepting for the most famous of artists, solo vocal recitals are more or less a thing of the past. So in the university setting, where recitals are still a requirement, how can teachers and singers make them less perfunctory and more performance? Find ideas here.
Three women who have crossed over into the predominantly male, administrative side of opera discuss what it’s like being an impresario.
Superstar soprano Angela Brown tells why she started her one-woman show designed to draw new and younger audiences to opera.
Nearly every singer wonders at some point or another in their career pursuits whether or not they have what it takes to succeed as a professional singer. The always sage and straight-forward Cindy Sadler offers seven considerations for knowing if you have “it.”
Michael Spyres takes readers on a tour of the expat experience.
A Connecticut voice teacher shares how she has created a summer season of solo engagements in the south of France.
CS begins a new series this month focusing on singers of the past. This month learn more about the career of one of the major baritones of the early twentieth century and how and where you can hear him now.
Longtime CS readers will remember Jennifer Porto from her 2005-06 series “Studying Abroad Courtesy of the U.S. Government.” Still living in Leipzig, Germany, but now living the life of a professional singer rather than a student, Porto begins a new series on what it’s like to be a Fest singer.
Dr. Jahn discusses inhalation and exhalation from a medical perspective, including what medical causes might be at the root of breathing problems.
If you’re one of many singers heading west instead of east this fall for auditions, check out these great tips for staying cheap in San Francisco and Los Angeles.
One of the casualties of my current occupation is that I never know what month it is. In September, I am in the final stages of preparing the November issue
To share your comments about CS or your story of why you sing e-mail editorial@classicalsinger.com.
