Prior to Cristina Necula's recent trip to Vienna, Classical Singer sent an email to the CS Onlie Community asking for your suggested questions for the two following interviews. Ms. Necula was able to interview very different European manager's to get the insider information you need. Compare their stles and answers before you consider your next audition for a European job. Our thanks to Mr. Seitter and Mr. Hollaender.
One of our older survey respondents wrote in with a thought-provoking account of her experience attending a particularly problematic university. CS is including her story here with editorial comments interspersed. It is critical to choose your school well! The writer brings up many points singers need to take into account when looking into school.
We polled the Classical Singer Online Community- and recieved hundreds of responses on singer student debt. As you will read, singers feel strongly about this topic! Thanks to all those who expressed their opinions. We received so many interesting responses that it was hard to select only a few for publication here.
In order to get to the bottom of the college debt issue and assess the value of student loans as an investment for students interested in pursuing a singing career, Classical Singer magazine recently conducted an online survey of hundreds of singers.
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.
