When Thomas Meglioranza began thinking about a career in music he had no formal training. But with a passion for music and singing as a spark—and his choir director at Grinnell College, John Rommereim, fanning the flames—he began the years of hard work on his vocal art. Now an established and successful singer, Meglioranza shares how he has forged an eclectic career of recital, concert, and opera work in genres from Baroque to Contemporary.
If you’re looking for ways to step outside the box and explore new and challenging performing opportunities, new music by living composers may be just what you’re searching for. A handful of singers who specialize in new music weigh in on what it takes to find work and sing it well—and also lay to rest some common misconceptions of contemporary music.
Don’t miss this final column of “Inspirazione,” as Lisa Houston brings you her inspirational thoughts on not missing out on the bigger opportunities of life.
One singer, when faced with the frightening possibility of never singing again, found a remarkable way to keep music in her life.
Whether you’re a singer interested in exploring the musical theatre repertoire or a teacher looking for a great reference tool, this new edition of a comprehensive annotated musical theatre guide is for you.
As singers continue to cross genres to increase opportunities, it may behoove them to also consider crossing over into marketing trends where the other-than-classically trained singers are finding success.
One of Juilliard’s most notable graduates returned to the school last fall to do something she rarely does. From her relaxed attitude and spot-on advice, you would never guess that Renée Fleming isn’t a regular masterclass instructor. Read in her own words the technical advice she shared with four singers.
Classically trained singer Bridie Carroll now makes her career in musical theatre. Find out how she survives life on the road doing eight shows a week, what she views as the secrets to auditioning success, and how her family and faith continue to ground her.
A reader recently responded to an e-mail detailing the lineup of classes at this year’s Classical Singer Convention. “If Classical Singer will not maintain the purity of the classical art
Dear Editor: I found two of the articles in your March issue interestingly contrasting: “Nudity in Opera Today” and “Ageism in Opera.” If I may be allowed to correlate the
Met and ENO Commission New Work With a combined commission from the Metropolitan Opera and English National Opera, composer Nico Muhly is writing an opera that will be premiered in
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