IN THE WAKE of what should have been a glorious moment, the winners of the Marjorie Lawrence International Vocal Competition found themselves feeling confused, a little foolish, and a lot betrayed. After spending time and money to compete against 60 rival singers, those who came out on top were denied their prize money as well as access to the one man who could explain why—organizer James McCully.
The first time I saw Ramon Vargas on stage was in 1999 at the Vienna State Opera, as Edgardo in “Lucia di Lammermoor.” That season, he also sang Nemorino in “L’Elisir d’amore,” so I had the good fortune to witness unforgettable performances of two very different bel canto roles. I was a student at the Viennese Academy of Performing Arts, and little did I know that my encounter with this complex and generous artist would completely change my perspective on singing and on life in general. Perhaps we have all had the chance to meet—at some point in our lives—an extraordinary individual who becomes a mentor, a source of inspiration, and someone whose wisdom and knowledge help us grow not only as artists, but also as human beings. When I suggested to Mr. Vargas that I would like to share with other singers and non-singers a “condensed” version of the many discussions we have had on the topic of singing and life as an artist, he agreed without hesitation. It is a great honor for me to present this interview as a glimpse into the mind of one of our greatest singers today.
Dear Editor: Are there any jobs for singers in fabulous vocal shape, gorgeous looking or over 50? CS becomes less and less useful as all auditions and other jobs are
Those of you who are receiving the e-mails we send out monthly will know that we asked you to send in your questions for an interview with Joseph Volpe, general
AGMA MEMBERSHIP EXPANDING AGMA recently reported that its membership has grown by 45% in the last two years. Membership in February 2000 was 4,644; it currently stands at 6,748. Choristers
Enrolled agent Gordon Voorhees gives you the ammunition you need to take that deduction for your home office.
John Fisk— young singer doing the New York Auditions Circuit LAST MONTH’S RESOLUTIONS: 1. Learn music, both for a new role and for cover assignments at my Young Artist Program.
Whether it’s used to get an audition, for the cover of a CD, for publicity or on a website, a great photograph is one of the best career tools a singer has. But what do you do when a photograph would be perfect 'if only'.
We all agree it is one of those things we should do, we need to do, we must do. But actually doing it? Well, it's tough.
Jennifer Larmor advises singers about repertoire choices, when to say 'no', dealing with stage directors, singing in Europe, building a career and more.
Supertitles for Vocal Recitals Dear Editor: I am writing regarding the Bulletin Board posting entitled “Recitals with Supertitles” in the April 2002 issue of Classical Singer. On January 18, 2002,
Do You Have to Pay DOUBLE Union Dues? AGMA vs. AFTRA Traditionally, when a singer is on stage, she’s represented by AGMA. When that production is broadcast (Live from Lincoln
