Often times the singing voice needs a break, but pressing engagements can sometimes push a singer into pressing the voice—often with harmful repercussions. Here are some helpful hints to help you rest your voice when needed and still show up prepared to that voice lesson, coaching, or rehearsal.
In March 2005, CS did a whole issue on a once taboo term: menopause. This follow-up article tells the story of one singer’s struggle with early menopause. This singer didn’t experience the common side effects so often associated with this stage of life, but she did suffer vocally. Contrary to the advice of her voice teacher and medical doctor, however, she didn’t give up singing—and more than 10 years later her voice is still going strong.
Applying for a teaching job with a college or university has its own set of guidelines that differ from a “normal” job application. Katherine Kelton gives you all the information you need to know to apply and land a teaching position in higher education.
If you’re considering a career in Germany, this is a must read! Caroline Whisnant shares the differences between auditioning in the States vs. auditioning in Germany, and gives several sources of audition information, as well as little details such as how much rehearsal time to expect before a production.
Each month Classical Singer highlights two of the 14 singers our panel of distinguished judges selected from more than 200 AudComps 2005 applicants for having a ready-to-go audition package appropriate to their Artist Division. This month we spotlight Helen Huse Ralston and Ricardo Tamura from the Professional Division.
The Met’s new season is off and running, and here’s one of CS’ favorite reviewers with a full report. It seems the powers that be placed emphasis on the comedic, rather than the dramatic, face of opera for its season openers.
Not content to rest on the laurels of an international singing career, Jacque Trussel is now receiving national recognition for his work as a stage director, most notably his work at Purchase College. Classical Singer magazine is pleased to honor him with our new award: Stage Director of the Year.
Erda, the erstwhile earth goddess, shares her practical knowledge and words of wisdom with all who inquire. This month, she shares her wisdom on writing a letter that is sure to impress and provides tips to help you wade through copyright confusion. If you have a question for Erda, write to editorial@classicalsinger.com.
In a little more than 10 years, since her critically acclaimed appearance in Delibes’ Lakmé at New York City Opera shot her into stardom, Elizabeth Futral has established herself as one of this generation’s leading coloratura sopranos. In this Classical Singer exclusive, Ms. Futral speaks candidly about a myriad of issues, such as how to deal with being on the road, how the coloratura repertoire differs from other soprano repertoire, how to vary vocal color for dramatic purposes without sacrificing vocal beauty, and how she manages the business side of singing.
Paul Kellogg to Retire The New York City Opera announced that Paul Kellogg, its general and artistic director for the past decade, will step down at the close of the
What have your career highlights been, so far? I’ve been fortunate enough as a very young baritone to learn and sing many roles during my studies. I feel blessed to
Dear Editor: Keep up the good work featuring voice teachers. How about an article about professional choral singers, voice teachers, choral conductors, and their (hopefully) amiable interaction? —Liana Lansing, Denver,
