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.
While planning the annual back-to-school September issue you’re now holding in your hands, I sought out interviewees for April James’ article on hiring agents’ perceptions of advanced degrees. I contacted
Find out what you need to do during school so that, with diploma in hand, you’re ready to really start your singing career.
Tell us how we’re doing. We’d love to hear your response and reaction to the articles published each month, as well as your view on the classical singing community. Contact us via e-mail at editorial@classicalsinger.com or by mail at Classical Singer magazine, P.O. Box 1710, Draper, UT 84020.
A singer and voice professor, who started out as a pianist, shares insights on the how-to’s of effective practicing. Find out how to make the most of those moments in the practice room, including ways to practice without even opening your mouth.
. . . And the Show Continued to the End American soprano Joyce DiDonato was singing Rosina in Il barbiere di Siviglia on opening night at London’s Royal Opera House
Professors from six major universities weigh in on what helps to set singers apart in a college entrance audition when it comes to language, diction, and meaning.
