Ensemble singing has long held stereotypes and misconceptions as well as valid concerns for the classically trained singer—from being hard on a singer’s voice, to “pigeonholing” a singer as forever destined for the chorus, to being viewed as settling for something less than a solo career. In this issue we take a look at these ideas in an effort to separate fact from fiction and help you determine what place choral, chorus, or ensemble singing has in your career.
To kick off this issue voice teachers and professional choristers discuss a major concern around choral singing: the challenge of maintaining a healthy singing technique in a group setting. Read what two choral directors and four members of the Los Angeles Master Chorale have to say about the possible technical pitfalls of choral singing and their advice for avoiding them.
Singers and teachers agree that the choral conductor can greatly influence how taxing choral singing is on the singer. The University of Kansas recognizes this and has created degree programs that give greater emphasis to vocal pedagogy classes for choral conducting students. Brian and Jeremy Manternach share details about KU’s revolutionary Choral Pedagogy degrees, a name that reflects the program’s dual emphasis.
While some ideas about choral singing are indeed misperceived, many are very real, as Dr. Anthony Jahn attests. Read from a medical perspective how ensemble singing challenges a singer’s aural perception, demands that the singer be more kinesthetically aware, and also increases a singer’s odds for illness.
This discussion wouldn’t be complete without asking the question “can you make a living as a choral singer?” Lisa Houston brings some facts to the table in her column this month, quoting AGMA and Chorus America figures about salaries and numbers of jobs. In Maria Nockin’s interview with Charles Bruffy, this conductor of two professional choruses speaks candidly about the financial realities for his singers.
Opera choruses, especially the big three (San Francisco Opera, the Metropolitan Opera, and Lyric Opera of Chicago) perhaps offer the most financial stability in terms of long term contracts, salary, and benefits. But what does it take to land one of these coveted spots? Donald Palumbo, chorus master at the Metropolitan Opera, shares what he looks for in an audition. A current singer with the San Francisco Opera Chorus shares why he took the job, the opportunities that have come his way since, and what a typical day for an SFO chorister entails.
In addition, don’t miss reading about Chanticleer, the 12-men ensemble featured in this month’s cover story, and choral conductor Andrew Crane’s advice about moonlighting as a professional singer. Amanda White finishes off this issue with an evaluation of a new software program that promises to improve what every choral singer needs: superior sight-singing skills.
As you evaluate your own career and where ensemble singing fits within that, consider the idea echoed by many in this issue. If you love to sing (perhaps a given, since you’re reading this at all), then you need an outlet. Choral opportunities of all varieties can multiply your opportunities to sing—a good thing, indeed.
