"Opera-goers often ask me how a man of Christian faith can so effectively portray operatic roles, famous throughout the repertoire, that represent satanic or devilish themes. I have no problem answering. As a Christian, I battle Satan on a daily basis. After living 36 years as a born-again Christian, I have come to know many of the devil's tactics and strategies. I may lose many of the battles but, with God''s help, I will win the war. "- Jeffrey Wells
Now that you're on the Internet, why not become a part of it? Why not put up a site on the World Wide Web (www) so that others can find out who you are?
"Borrowing" cadenzas from recordings may work for a student in training but professionals really have to have a unique set of ornaments which distinguish their performance.
In answer to numerous requests, TNYON begins a series dealing with common medications and their effects on the singing voice. These columns will appear intermittently throughout the year.
Karis, a singer in Germany, won a German vocal competition. Anticipating congratulations from her diction coach, she relates, “I couldn’t believe the first thing that came out of his mouth,
Whether you are an American working in Europe or a European working in America, getting sick or injured in a foreign country is frightening and could devastate you financially (see
I had insurance before I came to Europe. If you have private insurance here they treat you well, and it’s inexpensive (way less than America). But remember that you get
Below are selected websites of opera companies and festivals. Also check out Mike Gibb’s excellent site at www.operabase.com for info about singers and seasons?important research to do before actually going
Working and Auditioning in EuropeSometimes it Works… Sometimes it Doesn't. NYON Asks two full-time singers to candidly discuss their European singing experiences.
I’m not sure I fit the bill as one who has ‘made it BIG’ in Europe,” says soprano Elizabeth Futral. “I think I more accurately qualify as one who is
An expert coach uses Butterfly’s death scene to demonstrate how to gauge tempo and pacing. Even if you are never going to sing this role, you need to know the difference between a generous expansion and a dragging tempo.
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