An unforgettable two days of amazing classes with managers, general directors, singers, and more made up the Professional Track at this year’s Classical Singer Convention. Read about it here and then start planning to attend next year’s big event in May 2011 in sunny Los Angeles.
Kicking It Off
To kick off the Professional Track, attendees gathered for the Opening Session on Saturday morning. Sylvia McNair and pianist Ted Taylor started things off right with a terrific opening number, “Sylvia’s Lament,” a delightful medley that chronicles McNair’s journey from opera to crossover to cabaret. Then Carroll Freeman, recipient of the 2010 Stage Director of the Year award, entertained and inspired the crowd with stories of his career.
The Opening Session concluded with four singers of various levels and stages of their careers sharing their thoughts on why they sing. From two high school students, to a recent college grad, to a seasoned singer, these four singers all welcomed the group in for a momentary glimpse into their hearts. Their moving responses are reprinted on the following pages.
Finally, with general director Dan Montez leading the group from the piano, all in attendance joined their voices in Handel’s “Hallelujah Chorus.” The group raised the roof with their enthusiasm, and choir directors everywhere would certainly have been green with envy for such an assembly of voices. Even the tenors, who were smallest in number, made a fine showing.
And with the final strains of “forever and ever” and “hallelujah, hallelujah” still ringing through the halls of the Marriott Marquis, the Professional Track had officially commenced.
Classing It Up
Classes on everything from auditioning to living on a budget to working with a manager filled the two days of the Professional Track.
“Some of my favorite presenters included Warren Jones, John Douglas, Dan Montez, and William Florescu,” said convention attendee Anna-Lisa Hackett. “They each offered vital, straight-forward information regarding the craft and really helped the singers perform better—and a couple of these were extremely entertaining!”
“Manager Ken Benson was a very kind and approachable class presenter while also being constructively critical,” reported soprano Maryann Mootos. “Dorothy Byrne was refreshingly honest, forthcoming, and dynamic.”
Dawn Upshaw’s masterclass was Karen Lundry’s favorite class “because of how she approached each person as someone unique and not as a generic student.”
This was just the tip of the iceberg. Tony-nominated composer Craig Carnelia gave an inspiring class on musical theatre. Manager Kristin Cowdin gave straight-up advice on what singers need to know about management and so much more. And conductor Kent Tritle gave an amazing masterclass on Oratorio.
The only real complaint from attendees? There were too many great classes to attend and not enough time to fit it all in!
Remembering John Douglas
Pianist, coach, con-ductor, educator and, perhaps most importantly, a huge advocate for young singers, John Douglas passed away on July 12 after a fight with an aggressive form of cancer. Convention participants were fortunate enough to meet and learn from Douglas at the 2010 Classical Singer Convention.
“I saw John give an amazing masterclass at the Classical Singer Convention. I could tell everyone was inspired by his passion. I know I was,” remembers Reyna Zack, a convention attendee and former student of Douglas’. “He will truly be missed and remembered. He was one of the most influential teachers I had in college.”
Douglas made his home in Philadelphia and had just completed 20 seasons as music director and conductor of the Opera Theater at Temple University. During his summers, he was the backbone of the Apprentice and Studio Artist Programs at Lake George Opera, where he also served as chorus master and head of the music staff.
Pursuing his passion to the end, Douglas was involved in LGO’s 2010 summer season until just days before he had to return to Philadelphia due to failing health. “He learned just as our season started in early June that a tumor had appeared,” LGO’s general director Curt Tucker wrote to CS in an e-mail. “He began our season and did his usual tremendous amount of good work for us, but he fairly quickly began to fatigue . . . he left midway through our season to recuperate and continue tests. Unfortunately, his decline continued, and then he was gone.” This was Douglas’ second bout with cancer, having had and recovered from the disease several years ago.
Tucker and LGO publicly dedicated the remainder of their summer season to Douglas, including their production of Viva la Mamma which Douglas was slated to conduct. “John was both a good friend and good colleague,” Tucker wrote in an e-mail to the LGO company. “I am both proud and humbled to lead our remaining performances this summer in his memory.”
“Although I enjoy my professional work,” Douglas once said speaking of his career as a pianist, “I think my creativity is more stimulated by my work at Temple. I get a special pleasure from finding unique solutions to the types of challenges our young singers present and being a part of their early successes—successes I know they will remember the rest of their lives.”
For more about Douglas, his work with young artists, and his contributions at LGO, see “Future Stars at Lake George Opera” in the August 2009 issue of CS.
