Dear Editor: I am very happy that a magazine for classical singers exists and would like it to keep going. I wouldn’t mind if it branched out into other kinds of singing, too.
—Anonymous, New York, N.Y.
Dear Editor: In Miriam Charney’s very informative article on preparing an audition binder [“Binder Blunders,” July 2006], she makes the statement: “Careful though—if you’re using a copy from an anthology, and you know there are orchestral or vocal parts missing (as in Musetta’s Waltz), please make sure they’re in the music you give us!”
I am unclear as to her meaning and rational. Is she suggesting we get a copy from the opera’s vocal score and mark cuts? Or present the whole piece as given in the opera? It seems as though having irrelevant vocal lines would be confusing to a collaborator, and time is usually at a premium in audition situations. No offense, but I feel that I am using precious time having a pianist play these interludes. The auditors know the pianist’s quality—that’s why they already have the gig! So a little explanation would be appreciated. Thanks.
—Michael Begley, via e-mail
[Thank you for finding this article among the myriad of timeless and informative articles in the online archives at www.classicalsinger.com. We have contacted Miriam Charney for further clarification. Watch the Feedback section in future issues for her response. In the meantime, if any other coaches wish to weigh in on the issue, e-mail editorial@classicalsinger.com.—ed.]
Dear Editor: “Keep up the good work.”
—Sharon Azrieli, New York, N.Y.
