Is that singer’s frown ruining your youthful look? From fewer wrinkles to managing TMJ, botox offers a simple and easy solution. Meet Dr. Jahn at the Classical Singer Convention
One wonders: How good are that black dress’s high notes? As a woman whose size also leaves me squarely out of the Royal Opera’s black dress territory, I’ve pondered it myself. … How important is image in opera? As shown by this firing of one of the best available artists…the answer is very, very important—sadly important, in an art form that used to be about the voice and the music. Your response to this article will appear in a future issue.
Met Opera to Continue Broadcasting The Metropolitan Opera has received sufficient funding from the Annenberg and Stabile Foundations to allow it to broadcast the 2004-2005 season, according to a March
Dear Editor: I would like to commend Sherri Weiler’s series of articles on books that singers should have in their library. I especially enjoyed “The Functional Unity of the Singing
I hope you still feel small when you stand by the ocean Whenever one door closes I hope one more opens Promise me that you’ll give faith the fighting chance
Linda Mays, the president of AGMA, has been busy redefining the rules of how singers interact with their managers. This is important reading for all singers. Please read it, and pass it on to all the singers and managers, some accepted practiced out there are just plain illegal.
At a certain juncture in a young singer’s training, he or she is faced with that inevitable question: “What do I do next? ” Singers are faced with several attractive, albeit confusing options: Do I move to a major city and start auditioning? Pursue chorus work in an opera house? Find an agent? Get my Master’s? Focus on concertizing? For many singers, the perfect choice is a young artist program, which typically combines several of these elements.
Tenor Gregory Kunde is one of the most celebrated American singers on the international stage today. He has performed in all the world’s major opera houses and his repertoire extends from the standard tenor roles such as Alfredo and Rodolfo, to Baroque masterpieces.
Dear Erda, I’ve recently discovered, to my surprise, that rather than being nothing more than a time-wasting source of income, my church job actually brings me a lot of joy.
During the weeks since last month’s article, “Why Singing?”, I’ve been thinking about how easy it is to “break eggs without making omelets.” The questions I asked in that article
A Two-Tenor Aida? When German baritone Josef Metternich sang Amonasro, he often warmed up by singing “Celeste Aida,” to the consternation of the tenor in the next dressing room. Sometimes
Dear Editor: I thoroughly enjoy the articles on each artist and student who is making a dent in the musical life of America. I particularly enjoyed the background on Shirley
