A singer’s sporadic income can cause problems with taxes. If you’ve been short on funds and are behind with the IRS, here’s what to do.
This report is the result of a six-week study in Germany during the 2002 spring semester. This is a compilation of personal observations, consultations with a number of German opera agents, conversations with Americans currently engaged in German opera houses and conversations with members of the general public about their views on opera from the audience standpoint.
You won't find these auditions on the pages of Classical Singer magazine, because there are no scheduled auditions for this young artist program; only a very select few are invited to join. Director, Gayletha Nichols explains to Cristina Necula how it works.
Joseph Volpe answers questions ranging from how singers are hired at the Met to how he went from being a carpenter to General Director of the greatest opera house in the world.
Dear Editor The article “Strategies for Success—Landing a Tenure Track Teaching Job,” in your September 2002 issue, gave much valuable advice to those seeking voice teaching jobs in a college
Ever want to stand up and sing while attending an opera? During the opening night of Handel’s Guilio Cesare, the performance was halted early in the first act when the
This is our first article to begin the discussion on the problems associated with monthly cycles, hormones and the female voice. We welcome your questions, comments, solutions and experiences. Please send them to CJ Williamson at cjw@classicalsinger.com or Classical Singer magazine, PO Box 95490, South Jordan, UT 84095-0490.
AND PEOPLE WONDER WHY we singers are such hypochondriacs. Our desire to sing is so strong we’ll rise up out of our graves to do it. We’ll endure low pay,
HOW WAS IT? Write to me! The good, the bad, and the ugly! December’s issue will feature your comments. I will withhold your name if you like, but I need
Competing Opera Companies Merge After seven years of competing with one another and frustrating potential donors, the Opera Company of North Carolina and Triangle Opera have decided to overcome their
STEPHANIE BLYTHE calls herself “the most fortunate young artist on the planet,” and with good reason. Opera lovers are not known for their charity when assessing vocal talent, and even the most famous singers before the public today have aggressive detractors. But all the critics, both professional and amateur, seem to agree that Stephanie Blythe is blessed with a major instrument that she uses to potent effect in a repertoire ranging from her triumphant Cornelia in the Metropolitan’s recent Giulio Cesare to contemporary compositions like Richard Danielpour’s American Requiem.
Erda, the erstwhile earth goddess from Das Rheingold and Siegfried with knowledge of past and future, now visits CS readers with her knowledge, foresight and wisdom. To ask Erda, write to askerda@classicalsinger.com
