A university education can be one of the most important experiences in a singer's life. However, too many young singers and their parents don't prepare early enough, don't research thoroughly enough, and then plunge headlong into too much debt without thinking of consequences. If you work with young singers, or you're in debt and need help, this is important reading.
ºDear Editor: CS is a must-have for singers young and old. It’s always full of useful, informative and inspirational information. It’s a survival/planning guide for college singers. —Kenneth Kellogg, Ann
It started out as a Saturday morning diversion. But these former college students have managed to create a new market niche and set a great example on how to thrive in today's tough arts economy.
Actors’ Equity and AGMA Agreement, The Actors’ Equity Associa-tion and The American Guild of Musical Artists have announced a ground breaking agreement that resolves many jurisdiction questions pertaining to a
In March of 1999, CS did an entire issue on the topic of mental health using Kay Redfield Jamison’s book, Touched With Fire, which discusses the creative personality’s penchant for depression or bipolar illness. It’s all too common for singers to suffer with depression or other mental illnesses that make it difficult to keep going—and the stress of the business makes it that much harder for the artistic temperament to survive. Linda McKay revisits the topic here with a surprising twist that links the modern artist’s depressive tendencies with ancient Mayan legend.
It is unquestionably the reigning fan magazine for opera audiences. CS decided to talk to the editor and publisher about future plans with the magazine and the Metropolitan Opera Guild. Building audiences for opera is a high priority for our readers as well, so we salute Opera News and the Guild!
In two of the articles this month, the NYIOP auditions and the interviews with two European managers [see pages 22 and 28, respectively], there is a discussion on whether singers should or should not sing one Fach heavier than their natural voice would allow. It seemed important to address this question, and CS turned to veteran voice teacher David L. Jones. This excellent article was already known to us because it was posted on his website [http://www.voiceteacher.com], but we wanted to make sure singers everywhere were aware of the dangers of singing “one Fach heavier.”
As Richard Leech said last month, the three most important things to remember in singing are: “meaning, meaning, meaning!” Here Marc Verzatt shows singers how to analyze a character. Whether you sing this role or not, follow the logic on how to get inside the meaning.
It’s September and you’re working hard. Remember that your voice is YOU. Here’s Dr. Jahn to talk about getting your rest while you are getting your goals.
Erda, the erstwhile earth goddess from Das Rheingold and Siegfried with knowledge of past and future, returns to give CS readers her knowledge, foresight and wisdom. To ask Erda, write to askerda@classicalsinger.com. It's sure to be a question hundreds of other singers are asking as well.
American baritone Bryan Rothfuss and Austrian soprano Maria Rosendorfsky are full-time students at the two main music schools in Vienna, Austria: the University of Music and Performing Arts, and the Konservatorium, respectively.
Classical singers have been asking for mass auditions for decades. They got them. Some didn't like them. Here's a report on how they went-and how they might go in the future.
