A new guide to lyric diction explores the sounds and songs of Greek culture.
Longtime collaborators Stephanie Blythe and Alan Smith sit down with auditors of their Fall Island Vocal Arts Seminar to discuss the importance of the positive in teaching, the value of reciting text—both in the practice room and the recital hall—and the appropriate 21st-century repertoire for the young singer.
The semester is just beginning. If you haven’t been as successful as you hoped in the past, implement these words of wisdom for starting and finishing strong.
I have two conflicting passions: cookies and running. My life pursuit seems to be trying to find the appropriate balance of the two—both for my waistline and my health. So,
With so many schools of thought around proper breathing for singing—from the Italian Bel Canto to the Germanic approach and everything in between—finding what works for you can be a challenge.
What do you do when someone you love tells you you’re a failure because you’ve chosen a path they don’t see as worthwhile or because they don’t think you’re successful? Learn how to honestly evaluate their words and then set appropriate and healthy boundaries.
Mezzo-soprano Stephanie Blythe has sung on the major operatic stages the world over during the last two decades. When examining the scope and breadth of her work, one word best describes her: versatile. Not only has she mastered the operatic repertoire from early to classic to modern, she has also successfully forayed into art song, popular song, and musical theatre. With a performance career that spans from Semele to Samson et Dalila to Sweeney Todd, Blythe now seeks to impart a love of American art song in young singers at the Fall Island Vocal Arts Seminar.
By Angela Peterson Winter Do you like to practice? Practicing is a discipline that some days will bring me sheer joy and others complete frustration. As a voice teacher and
by Gina Molinari “I don’t even like music that much. I realized one day that I was really good at singing and just decided to see how far I could
What kind of roles do donors play for opera companies? And what is a singer’s obligation to said donors? Find out here, including how to make small talk and when and what kind of thank you notes to write.
As singers start their careers, it can often seem that anyone and everyone wants their money. Knowing how and where to spend your valuable dollars requires educating yourself. Cindy lays out the resources for getting the information you need here.
Conductor Joseph Mechavich declares in his interview with Kathleen Buccluegh (p. 42) that we are currently engaged in a “cultural war” as opera companies struggle to stay relevant in today’s
