Booing Police? The New York Times recently reported that at the Metropolitan Opera’s first performance of Mozart’s Entführung aus dem Serail, the soprano singing the role of Konstanze, Alexandra Deshorties,
I was in the airport last week and found the magazine Real Simple with twelve suggestions for how to be happy. I’ve found myself thinking about them over and over
I received Classical Singer magazine in the post yesterday and just want to congratulate you on a great article and to thank you for exposing Bel Canto Italia [Summer programs
CS asked a favorite stage director to write a guide for creating a believable character in an opera role, or for adding characterization to an individual aria. We believe attention can be paid in a singer’s education to role-building, characterization, and acting.
Cristina Necula sat down with the reknowned conductor Gottfried Rabl on a summer day last July in Vienna, Austria. His comments and views are here translated from their conversation in German.
Alignment, breath, concentration, stamina. Singers learn yoga helps their singing in so many ways. Lori Gunnell explores why and how.
The Coaches Corner this month is by John Burrows who suggests a new motto for coaches to tell singers everywhere, “permission granted!”
Having recently made her Met debut, Josepha Gayer's message to the Classical Singer Community is that you can start your career at any age.
Young Artists Programs only accept singers in ther 20s, right? Meet Daniel Rodriguez, the singing policeman you saw on television after 9/11 – a "young artist" at Washington Opera. Read the inspiring story of how he became an overnight success after 25 years of hard work.
Classical Singer asked for your experiences with intubation. Singer and voice teacher Melyssa Rice took on the task of editing and compiling them here for you along with some additional research.
Classical Singer continues the series (started with cover story Alison England last month) on singers who are creating new markets for their talents.
On recording, Ms. Mills may be heard on RCA’s recording of Sondheim’s Follies, New World Records’ Grammy award-winning Candide, Newport Classic recordings of Handel’s Muzio and Scarlatti’s Ishmail, Arabesque Records’ recording of Schubert’s “Auf dem Strom” and Strauss’ “Alphorn” with David Jolley, horn, and most recently her solo CD of American song “Always it’s Spring” from VAI. On video she may be seen on “The New Sousa Band on Stage at Wolf Trap” with conductor Keith Brion. Her performance of Cunegonde at the New York City Opera was seen on a national telecast on PBS’s “Live from Lincoln Center.” Last summer Ms. Mills appeared as Aurelia Havisham in the much anticipated new production of Dominick Argento’s Miss Havisham’s Fire by Opera Theatre of St. Louis and was hailed by The New York Times as “the star the vehicle was waiting for.” Ms. Mills is an Associate Professor of Voice at San José State University and resides in the Bay Area with her husband, Dr. Thomas Rescigno.
You’ve been asking us to ask singers about technique, so here you have it! We asked a singer whose voice has remained absolutely unaffected by the years how she still hits those high notes. While it won’t tell you how to sing, we hope it gives you some hints from a singer who has “been there, done that.”
