October 2008
Reminiscing with Patrice Munsel
When Patrice Munsel made her Metropolitan Opera debut in 1943, America was in the throes of the Second World War, televisions were not yet a household item, and a first-class postage stamp cost just 3 cents. Munsel reflects on that time and how it helped shape her career. Read about the days when the Met was a repertory theater, when opera singers graced the covers of magazines and became television stars, as well as Munsel’s advice for the next generation of opera singers.
Where We Sing : Then and Now
Opera houses, living rooms, churches, assembly halls, classrooms, public parks—do the places and spaces you sing in energize or depress you? Did generations past give more thought and attention to acoustics as well as an inspirational setting? Singers put enormous time and energy into thinking about how and why we do what we do. Let’s take a moment to think about where we sing.
The Tech-Savvy Singer : Constant Contact
Last month, we discussed the ins-and-outs of starting an e-mail mailing list and sending mail blasts. Now we turn to more advanced techniques: sending professional-looking e-mails using Constant Contact and other mass e-mail services.
Certified Classical Singers ’08-’09
This month, we feature mezzo-soprano Basia Revi from the Emerging Professional Division and soprano Jennifer Winn from the Professional Division.
The Beginning Is a Very Good Place to Start : A Conversation about the Feldenkrais Method and Master Teacher Maxine Davis
There is a new buzzword out there among singers. Perhaps you’ve heard it: “Feldenkrais.” What is the Feldenkrais Method? How does it help singers, and can it help you? This four-part series will introduce you to the method and show you some of what it has to offer.
Laser Surgery of the Larynx
Laser surgery is one of the newest advancements in the medical field—but it is not always the best and most effective route to take. Dr. Jahn outlines when to opt for the laser and when to opt for the more traditional way.
Reality TV and the Classical Singer
Do singing-related reality TV shows hold any opportunities for classically trained singers? A singer shares how she got a personal invitation to audition for one such program, and her experience venturing into a world she never thought she would enter.
Editor’s Note : Then and Now
Not long ago I went to an Apple Store to buy an armband for my video iPod. When I couldn’t find what I was looking for, I asked the store
Center Stage : Patrick Anderson, Tenor
Patrick Anderson Columbus, Ohio Tenor Please tell our readers about your career highlights so far. Highlights include singing in a masterclass for Thomas Hampson, singing in a chorale that featured
Letters to the Editor
Tell us how we’re doing. Tell us about the articles that have helped you and articles you’d like to read. We would like to publish your comments, received either by e-mail at editorial@classicalsinger.com or in the mail at P.O. Box 1710, Draper, UT 84020.
Bulletin Board
Submit entries to the bulletin board by e-mail at bulletinboard@classicalsinger.com.
Leila Edwards : A Tribute to an Operatic Coach Like No Other
Chuck Karel reflects on the life of his friend and coach who recently passed on at the age of 96. From stage directors, to singers, to conductors, Leila Edwards worked with many of the greats, but passionately shared her love of music with everyone, famous or not.
Fifty-Three Minutes of Maria
When we think about the great singers of the past, Maria Callas looms large. A singer and playwright have joined together to tell Callas’ story so that both singers and opera lovers alike can better understand the woman who changed the face of opera.
Angela Brown and Virginia Zeani : Student and Teacher
It was fate more than luck that brought Angela Brown and Virginia Zeani together. After meeting in a masterclass, Brown became Zeani’s student. Along with a solid vocal technique, Zeani also passed along to Brown her advice about the business of singing and her insights into various operatic roles. Now these two sopranos, who have both sung the role of Aida, share how this mentor relationship has flourished over the years, benefitting them both.
Distant Voices : Listening to Singers of the Past, Part 1
Can listening to singers of the past, even when the recording is not first rate, be helpful for today’s singers? Discover how the recording business has changed over the years, and read about one expert’s passion for what generations past have to offer today’s singer, including a sense of language and style, and the true art of rubato.
Stewart, Stearns, and the Dutchman
After years of singing in Vegas and in choirs, baritone Jason Stearns—encouraged and mentored along the way by former leading baritone, Thomas Stewart—has finally arrived at center stage. Stearns discusses how his relationship with Stewart influenced his interpretation of the great roles, such as Wagner’s Flying Dutchman, his career path, and his life.
Lorgnettes at Lunch
Much of the singing scene has dramatically changed with the passing of time. Some things are timeless, however, like the precarious relationship between critic and singer, or the graceful offstage performance of an always-poised diva.
Crespin and Herrera on Carmen
Mezzo-soprano Nancy Fabiola Herrera has received rave reviews for her portrayal of Carmen all over the world, including her recent performance at the Met. Herrera credits much of her success to Régine Crespin and the insights Crespin shared with her while the two worked together on the role in Paris. Now, Herrera shares Crespin’s insights and her own in this verbal masterclass on the irresistable Spanish gypsy.
They Did It Themselves! : Wrapping Up the DIY Summer Program
Singers from around the country have been participating in Classical Singer magazine’s first Do-It-Yourself Summer Program, led by Cindy Sadler. Read about how the program helped singers set and accomplish goals to further their singing careers.
The Addiction of Singing – Part Two : 'Rhett, Rhett... Where Will I Go, What Will I Do?'
Last month we began discussing the difficult decision to leave the stage. This month we examine the heartache
and grief surrounding this major directional change, and the time needed to truly allow yourself to mourn.
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