All Articles – Page 347

Is correct diction enough? Or are there plenty of singers performing today who think of the international phonetic alphabet as the only language tool they need? Internationally-known recitalist and teacher, Glenda Maurice, writes on the shortcomings of the diction class and the attendant responsibilities of the vocal artist.

In the August 1990 issue of The New York Opera Newsletter, we featured an interview with Wesley Balk, who at the time was about to publish his fourth book on the singer/actor process, entitled The Radiant Performer [University of Minnesota Press, 1986, $18.95 Amazon.com]. In an encore presentation of that interview, Balk’s philosophies speak quite specifically to the process of singers’ communication.

Cynthia Lawrence on preparing Marvin Levy’s revamped
Mourning Becomes Electra in Chicago

The Most Communicative Singer from our website poll at the Classical Singer Community is the inestimable José Carreras. And it isn’t only his marvelous voice that seems to have reached so many of our readers. It is a combination of music, words, characterization–and heart. Here is a sampling of what people are saying about Carreras and our other top-ranked singers.

In preparing for the November issue on the art of communication, Classical Singer conducted a poll on our website asking subscribers to vote for their choice as best communicator today. In this issue we highlight the top five winners of this poll, one of which is soprano Diana Soviero. Ms. Soviero has mesmerized audiences with her charismatic, emotionally-riveting performances of such verismo roles as Manon Lescaut, Nedda, Tosca, Cio-Cio San, and Suor Angelica. She is perhaps the archetype of the singing actress: a marriage of impeccable vocal technique with stunningly effective theatrical instinct and individuality. But beyond those two aspects is an elusive third–soul.

We call it “Audience Impact.” When it happens, audiences lean forward, their eyes widen, and time seems to stop. The performers who make that happen the most often are given the best roles in the best houses, recording contracts, and the ultimate reward: artistic control in productions, in their finances, schedules and in their lives.

Aging is an issue that all of us have to grapple with at some time or other in our lives. What about coaches? Do they get better with age?

·Age discrimination is illegal–but not in the field of classical singing! Any thoughts on this? ·Have you noticed any difference in how too-young, or too-old singers are treated in various

Learning and perfecting roles is expensive, so it pays to be a smart consumer. Several companies now offer recordings to help singers study and save money. How useful are these study aids? Can they replace or supplement coachings? In a three part series, Classical Singer asks a panel of professional singers to use the products to study or learn roles within their own voice categories. The panel includes a young artist in a distinguished apprenticeship program; established, managed singers; and a well-established international artist. Following are their comments and ratings.

Science has not been idle when it comes to the study of aging. Singers interested in a long career might do well to get started on some of these suggestions early.

Our sample phone survey showed that, in general, opera companies, apprenticeships and competitions do not seem to know the laws set forth in the Age Discrimination in Employment Act (ADEA), or to believe that the laws apply to the arts. Should singers start lawsuits when they aren’t hired, or fired and suspect the decision is age-related? We think there is a better way to make changes.

We asked John Wehrle, Artistic Administrator of Utah Opera, to comment on how age, marriage and/or children affect hiring decisions. Many companies think singers can’t handle frank talk like this, so singers are left in the dark. We are grateful to Utah Opera for trusting C.S. readers.