October 2005 – Page 2

Rock musicians have a lot to teach us. They have their own marketing techniques and performance practices, which classical singers can adapt to their own careers.

“Please have an article that addresses reducing a nasal sound in tenors. I understand that the sound must pierce through an orchestra and reach the listening audience, but must it be so strident? Ouch!” Here’s David Jones’ response to this recent request from a CS reader.

Has applause become so perfunctory that it doesn’t really mean anything anymore? Is the standing ovation such the norm that it no longer signifies an extraordinary performance? Dr. Levinson examines these questions and offers a few more meaningful alternatives.

Looking for a way to take your singing to the next level? In this interview and discussion with Louis Menendez, he shares his formula for digging deep into the music and yourself to create real magic.

Behind every great recital singer is a great pianist, and John Newmark, a master Lieder accompanist, was behind some of the best, including Maureen Forrester, Janet Baker and most famously, Kathleen Ferrier. In this interview, Michel Bourda, Newmark’s friend for more than 30 years, reminisces about this German-born prodigy who became one of Canada’s leading musical luminaries.

Each month Classical Singer highlights two of the fourteen singers chosen by our panel of distinguished judges from more than 200 applicants as having a ready-to-go audition package appropriate to their Artist Division. This month we spotlight Arlene Alvarado from the Emerging Professional Division and Rochelle Bard from the Professional Division.

We hope to see you at the next AudComps – May 2006 in Philadelphia!

Winter is fast approaching, and things are going a bit slow with the career. Your last performance was months ago. Bills are beginning to pile up. Auditions are getting to be a bit expensive. You long for a change. Why not work on a cruise ship? A cruise ship?