Longtime CS readers will remember Jennifer Porto from her 2005-06 series “Studying Abroad Courtesy of the U.S. Government.” Still living in Leipzig, Germany, but now living the life of a professional singer rather than a student, Porto begins a new series on what it’s like to be a Fest singer.
Dr. Jahn discusses inhalation and exhalation from a medical perspective, including what medical causes might be at the root of breathing problems.
If you’re one of many singers heading west instead of east this fall for auditions, check out these great tips for staying cheap in San Francisco and Los Angeles.
One of the casualties of my current occupation is that I never know what month it is. In September, I am in the final stages of preparing the November issue
To share your comments about CS or your story of why you sing e-mail editorial@classicalsinger.com.
‘The Met: Live in HD’ Expands Worldwide In December of 2006, the Metropolitan Opera began to simulcast its performances to movie theaters. Live movies of The Magic Flute, I puritani,
The Baroque era gave birth to opera—maybe not quite as we know it today, but the art form nonetheless. So what happens when modern-day opera companies mount early opera? What approach do modern directors take and what do they look for in singers?
Emma Kirkby discovered her passion for early music in the 1970s and has been introducing audiences worldwide to the music ever since. With over 100 recordings to her name and a recipient of the Order of the British Empire in 2000, Dame Emma is recognized as a consummate artist and veritable expert on early music. Read how this remarkable woman who began as an English major and school teacher and never dreamed of being a singer found her life’s path as she talks about singing, Baroque and Renaissance instruments, and the joy of making music in this Classical Singer exclusive.
Teacher Brad Jenks opines on the dangers of kneeling before the altar of technique and how teachers can best nurture their students in and out of the studio by keeping it simple.
Baroque opera expert Nicholas McGegan shares what he looks for in singers he hires, how he approaches writing cadenzas, and what type of voice he wants for both Handel and Mozart operas.
Is the pun of this title lost on you? Are you wondering just what is continuo and why should it be important to you? Then it’s high time to continuo your education. Read about the musical evolution of continuo and how learning this skill can help free you as a musician, tap into your creativity, and improve your collaborative skills.
