All Articles – Page 226

From the how-tos of fine singing to staying safe onstage, CS has tried to address every aspect of a singer’s career. In this article, reprinted from the last issue of The New York Opera Newsletter (July/August 1998), fight director Dale Anthony Girard shares his tips for playing it safe. Be sure to check out real-life stories from readers about not so safe moments on the stage (pg. 47). For more articles on safety, read the complete July/August ’98 issue in our archives.

How many times, while listening to one of the great singers, have you wondered, “How do they do that?” Over the years, the greats have shared within these pages many insights into the complicated answer to that question. Drink in these insights on vocal technique from those who know.

To celebrate Classical Singer’s 20th birthday, Cindy Sadler shares her top 20 jewels of wisdom. From owning your art to finding balance, Cindy delivers practical career advice in her typical Erda fashion.

Can you use the skills you’ve honed as a singer—becoming attuned to your instrument, your body, and how it works—to benefit other areas of your life? In this fourth installment of this five-part series on the relationship between singing and leadership, participants in Kay Kleinerman’s study explore this question.

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

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.

How do you practice? When do you practice? What do you practice? And most importantly, why do you practice? This month we examine the singer’s practice routine, or lack thereof, and see if it needs a tune up. Take a look at these ideas, and see if they can be a springboard for you to return to your practice with new energy and enjoyment.

After three intense rounds of competition among more than 200 applicants, the judges of the AudComps 2007 named 13 singers Certified Classical Singers for 2007-2008.This month, read about mezzo-soprano Regina Torres from the Emerging Professional Division and soprano Nouné Karapetian from the Professional Division.

Classical singers are always on the road, but we have to call somewhere home. Where do you want to headquarter your career? Having focused now on both coasts, in New York and San Francisco, Classical Singer takes you to the middle for the third installment of our Headquarters series. Button up your coats, singers—this is Chicago.

If you’re a mezzo-soprano, chances are you’ll be trading in those Carmen hips for a pair of breeched trousers à la Cherubino at some point in your vocal career. For many mezzos, the art of portraying a boy on stage is a challenge. When done effectively, however, it can lead to some of opera’s most memorable, rewarding, and versatile roles.

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

I will never forget it, sitting in the huge outdoor arena in Modena, Italy, as one of thousands watching and listening to the Three Tenors in concert. I had to