Joyce DiDonato has been hailed by the San Francisco Chronicle as the Rossini mezzo-soprano for the next generation and is acclaimed as "a singer of considerable accomplishment and even greater promise." Winner of the 2002 Richard Tucker Foundation Award, DiDonato's 2002-2003 season includes performances of Sister Helen Prejean in New York City Opera's new production of Dead Man Walking, for which she received the prestigious award of "Debut Artist of the Year," The Cunning Little Vixen at the Royal Opera House under the baton of Sir John Eliot Gardiner (see photo), Rosina at the New National Theater of Tokyo, Cherubino and Cenerentola with the Paris Opera, a Pesaro Festival debut singing the title role of Rossini's Adina, a recording of Handel duets for the EMI label, and a European concert tour of "Les Nuits d'ete" with Mark Minkowski and the Mahler Chamber Orchestra.
Future projects include Il Barbiere di Siviglia in San Francisco and Houston, Maria Stuarda in Geneva, the role of Idamante in new productions of Idomeneo at the Netherlands Opera and the Aix en Provence Festival, and a recital tour culminating with her Wigmore Hall debut in London.
Dear Editor : I enjoy the articles, but I would like to see an article or information on local opera companies and workshops, including names of persons to contact, not
July is Coach and Accompanist Appreciation Month! We’d like to encourage singers and teachers to honor accompanists and coaches this month. (Next month we honor teachers.) Think about the coaches
Richard Leech is now one of the world's greatest tenors, and as he demonstrates here, able to teach his craft to others. But he started singing in the high school chorus and then the opera chorus, learning his craft from two very dedicated teachers. Slowly and carefully he built his voice layer upon layer, never taking a role too soon. The result is a technique of which he is now The Master. Singers who want a long career should study these foundations very carefully.
Bulletin Board NEA Chair Pleads for Continued Arts Funding As many arts committees and state budgets are completely cutting arts funding, the new chairman for the National Endowment for the
It's one thing to hear from singers with jet-setting careers; it's another to hear from a singer who has been working steadily and living in one place for years and years. How did she get where she is and how does she feel about her career?
The following musicological analysis is for help in interpreting roles on a deeper level or even could be used to stage a recital with singers doing the arias back-to-back
Singers who are overcome by nerves know the career prognosis will be bleak if something doesn't change. Fortunately, for them, there are beta-blockers. And there is Don Greene.
Singers are faced with fulfilling contracts in locations listed as high-risk for SARS, traveling in closed enviornments, and mingling with collegues who have come straight from high-risk areas. It's important to be well-informed about SARS.
If you'd like to add spice to your next recital, Pablo Zinger has fresh ideas for you. In this issue featuring coaches, we chose a coach who is an expert on Spanish repertoire and diction.
We’ve received many, many requests over the years for this kind of detailed help, and Connie Barnett is just the person to give it. Here you will find three singers at very different crossroads in their careers: re-entry, Baroque career trying to find that niche market, dramatic soprano trying to jump from “D” houses to “A” houses. No matter what your career choice, you’ll be able to find your next step here. Thanks to Davida Phillips, Ms. Barnett’s first case study, for this article. She was brave enough to ask for help, give us the idea for the article and then let CS use her visual materials as a case study.
With an international career, Pavarotti as a mentor and friend, a supportive tenor for a husband, two children and singing contracts for several years to come, Cynthia Lawrence seems to have it all. But she has worked hard to get where she is.
