oldovan soprano Natalia Tanasii was only 21 when she made her professional stage debut as Countess Almaviva (Le nozze di Figaro) at the Moldovan National Opera. Her Salzburg festival debut
Emmie and Harry’s is a public Facebook group, set up as an online cabaret venue with a weekly schedule including individual artist shows, open mic, and themed shows of multiple
Today it is very difficult to survive as a classical musician, partly because classical music is being pushed to the margins of society, but in large part, because the training of the musician who should be oriented to flourish their creativity, constrains and confines them to rigid structures and canonical repertoire.
Soprano Rainelle Krause has been flying high – literally. Once impresarios realized her impressive aptitude for stratospheric vocal fireworks, Krause’s opportunities blossomed in her previous two seasons, particularly in Europe.
I can say for my own experience that my voice and the voice of many singers I know got better after 40. From that age on, the voice, the body, and the technique are mature. Moreover, we have much more life experience that we can bring to the performances—experience that allows us to relate with the subjects that we sing about; therefore we communicate much better with the audience. We are also much more confident, and this confidence reflects in our performances. The voice and the experience of singing only get better.
Nicole Car and Etienne Dupuis recently sang for the whole world from their home in Paris at the Metropolitan Opera’s At-Home Gala. They brought the same joyful energy to that
In response to the COVID-19 pandemic, schools and universities across the country turned to online classes for much of the spring and summer terms. In the musical theatre world, this
CS Music recently had the opportunity to host a masterclass featuring Dan Micciche, the current music director/conductor for Wicked on Broadway. He offered some wonderful advice that readers can learn
One of the most frequent questions I get from patients is about the somewhat mundane topic of throat clearing. Singers in particular are concerned about damaging their vocal folds and why do some people need to clear their throat constantly? More importantly, is there a right way to do it?
I have been practicing to my own synthesized tracks for about 30 years. Singing back to recordings was a way to get a sense of what the orchestra would sound like, but I longed to be able to build my OWN creations right from the composer’s pen to my voice. My solution, no matter how long it took, was to find the most user friendly notation software I could come up with, and to build my songs, arias, or entire roles from scratch with that software.
How tall you are, whether your voice will fit well with the ensemble, if and how you gesture while you sing—these are some of the aspects of your
Marianne Cornetti, internationally renowned operatic Mezzo-Soprano, is the new Artistic Director of Pittsburgh Festival Opera. As an artist who is still in the middle of her career, Cornetti’s leadership is
