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ontinued from the January/February issue, Carol Vaness offers guidance to young singers on taking charge of their education and careers.  In addition to a monumental career that continues to influence

Dear Dr. Jahn: I’ve recently taken up Olympic lifting as a side hobby and I’m worried that it will have an effect on my voice. Are there any negative effects

n my last blog, I discussed the negative self-talk that plagues so many artists, myself included. “I am not good enough” is like a soundtrack that plays on a loop.

ost audition judges will eagerly hear any singer whose repertoire shows some musical curiosity and a sense of adventure. Why choose only the “standard” five arias in your Fach for

Joseph Flaxman discusses his journey from the opera house to the synagogue.

Among singers’ acronymic medical problems, if TMJ is not first (GERD probably is), it is surely a close second.

Dear Dr. Anthony Jahn, I have dealt with chronic infections in my throat, and my doctor has recommended a tonsillectomy for quite some time (years, actually). I’ve been too afraid

hen I first came to Germany in 1986, I had no idea what a Fach was—either as a word or as an important part of my identity as a singer.

merican Lyric Theater’s Opera Writers Diversity and Representation Initiative (OWDARI) is looking for new voices to take part in its signature Composer Librettist Development Program (CLDP). What should CS readers

Meghan Picerno credits much of her success not only to her “team” but also to her adaptability, courage, work ethic, and ability to be open to new opportunities. Despite the pandemic’s crushing blow to the classical singing world, these traits have allowed Picerno to adapt to new performing opportunities and learn new skills. Read about her big break, the benefits she has found as a crossover artist, her advice to singers, and her hope for the future of performing arts.

Carol Vaness has performed on the world’s most coveted stages in a vast array of roles. Her impact on the opera world will continue to be felt for generations. But how did it all begin? In this first article of a two-part retrospective, Vaness talks about her childhood and adolescence, how she found her way onto the opera stage, and the experiences and relationships that have shaped her artistry.

ne of the twenty-first century’s busiest and most influential artists is someone you’ve never heard onstage or seen in the orchestra pit. Librettist Mark Campbell’s operatic work is staggeringly prolific,