All Articles – Page 200

At a time when many opera companies are scaling back, one company in upstate New York is making some significant changes in the face of recent unprecedented growth. Curtis Tucker, former general director and now artistic director, shares the reasons for his title change and what it means for him and Lake George Opera.

Don’t let the seemingly endless expenses that go along with your audition package get you down. There are ways to save costs without scrimping on quality.

It’s 5 a.m. The alarm rings. You don’t want to get up, but you force yourself to drag your sorry behind out of bed, knowing you’ll regret it if you

Addio, Amato Opera, ‘Addio mio dolce amor!’ Even if Amato Opera did not present Puccini’s Edgar, the opera from which the headline derives, its music was sweet to the ears

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.

A singer who has been teaching and singing professionally for ten years shares how he decided to do both and why he feels the two are happily symbiotic.

It is difficult, if not impossible, to find anyone in the singing world who doesn’t know the name Richard Miller. Perhaps one, two, or many of his books line your shelves, or maybe he visited your university for one of his many masterclasses. Perhaps your voice teacher quoted him in the studio, or you sang with one of his former students in a recent gig. Whatever your encounter with this remarkable man, learn more here about his extraordinary life from those who knew him best.

On the heels of its successful HD broadcasts, the Met’s latest dip into technology takes things to the next level—opera on demand on your desktop.

Because singers’ bodies are their instrument, correct body alignment lays the foundation on which all other technical aspects are built. Three experts share the ins and outs of aligning your instrument for greater vocal freedom, including how to do it when characterizations and stage directions demand otherwise.

Buying the music and research tools you need doesn’t have to break the bank. Find out how to save on these non-negotiables with a little creativity, including making the most of the latest technology and reaching out to friends and colleagues.

Like many singers, my first introduction to Richard Miller was in a college voice pedagogy class. His book The Structure of Singing was our textbook. While I initially searched its

Submit entries to the bulletin board by e-mail at bulletinboard@classicalsinger.com.