Don’t be caught unawares come December 1 when graduate applications are due. Find out everything you need to know to begin preparing now.
In a profession where competition runs extremely high, it’s the little things that often make the difference. Attitude is one of those seemingly little things that can actually determine whether you work or don’t, as well as how pleasant your life is when you are working. Regardless of where you are in your career—just beginning your freshman year or completing your fiftieth professional gig—these thoughts on attitude are for you.
Nearly all voice majors will sing in a choir at some point during their education. Voice teachers’ and choral teachers’ opinions about the effects of choral singing vary greatly. A voice teacher and a choral instructor, both from Eastern New Mexico University, give their viewpoints on a few of the issues that affect the singer in a choral setting.
This new monthly feature in CS brings you book reviews for all facets of a singer’s life. This month, find out how a new book on healthy choral singing helps singers achieve a healthy, free sound in a choral environment.
An important part of a singer’s education—both while in school and after—is proficiency in the basic operatic languages. Olivia Giovetti shows singers how to economically continue their study of languages at any age and stage of life.
Natalie Dessay, one of the foremost sopranos of this generation, began in the lighter coloratura roles. Now moving into the fuller soprano repertoire, as seen in her debut as Violetta in Santa Fe’s 2009 summer season, Dessay continues to delight audiences in the U.S. and abroad. Classical Singer’s Amanda White met up with Dessay in Santa Fe to discuss her recent debut, her theater training, and how she finds the delicate balance between acting and singing.
Michelle Goodman isn’t a singer. She has never worked for an opera company. Nor does she represent artists of any kind. And, yet, you may find her to be one of your best resources.
“Acting for Singers” is increasingly a topic included in conservatory curricula, but the name itself is misleading. It implies that acting and singing are two different endeavors, and that singers, by the nature of what they do, are not actors. Frederica von Stade once said in a masterclass that singers are essentially storytellers, nothing more. What is essential for singers to know about how to be a good storyteller and where, in the vast array of writings and techniques available to actors, should a singer turn?
Daniel Helfgot, the Classical Singer 2009 Stage Director of the Year, talks about creativity, progress, and why a score, with all its details, is a terrible thing to waste.
Last month Erda opined on the virtues of traveling light. This month she tells you how to travel right, with everything you need to know from booking your ticket, to sailing through airport security, to enjoying the perks of being a frequent flier.
Center Stage spotlights a Classical Singer reader in each issue. If you would like to be featured, go to www.classicalsinger.com, click on “Center Stage” and follow the instructions.
Find out what general directors expect of singers when it comes to acting and dancing on stage, and learn what universities are doing to help prepare students to meet those expectations.
