Classical Singer debuts a new section, REVIEWS, this month. We have long recognized the need for performance reviews which emphasize the singers and the music-making rather than the sets, costumes and other elements normally emphasized by the general press. It is particularly appropriate to begin this series with performances by Opera Orchestra of New York, as its founder and maestro Eve Queler has long been regarded as staunchly supportive of the singer’s art.
Dr. Jahn's tips for delivering the voice while you're awaiting.
What do singers think is needed to form a more perfect union?
For four decades, this eminent stage director has been a calming influence on the major operatic performers of our time.
Classical Singer talks with AGMA’s Tom Jamerson.
Rule One expresses the very power of a union. Will it work for classical singers?
While CS’s opinion poll may not be representative of every member and the dissatisfied are more quick to respond, these opinions reveal significant evidence of frustration
In terms of protection for the singer, we’ve come a long way. In the first two of three parts of our exploration of the unions, we examine working conditions for the singer, then and now.
Classical Singer salutes a man as beloved for his personal gentility as he was admired for his radiant art.
For the trained soloist, singing in a choir or opera chorus may be artistically rewarding, or a way to pay the bills between solo engagements. How do you sing in a chorus and still make sure your solo voice stays intact?
Based on the proposition that the consumer’s knowledge is the purveyor’s power, a marketing expert offers some startling ideas about selling opera to the masses.
When you’re up close and personal singing that tender duet, the last thing you want to think about is your breath (or theirs!). Dr. Jahn explains some of the causes of dragon breath, and what you can do to prevent it.
