Dear Editor: What a joy to read advice from soprano Ana Maria Martinez. After working in the music business for as many years as I have and seeing so many people claim to be “professional” in this industry, it is about time that someone with her talent and grace comes along and truly show how it is done. Receiving a master’s degree from Juilliard is impressive in itself but to have won the awards that she has won and to perform on the stages and with the talents with whom she has performed, what an opportunity for young performers to learn from the best. I’ve shown her article to some of my friends who are aspiring singers and they have taken to heart her advice. What a welcome addition to your publication. Congratulations.
—Candy Brady, via e-mail
Dear Editor: I wanted to let you know that I thoroughly enjoyed soprano Ana Maria Martinez’s article “A Strong, Advantageous Approach When Entering Auditions and Competitions.” Her candor and insight were very refreshing and helpful. It’s really wonderful to get true, heartfelt advice from someone who has succeeded at being a professional singer, rather than just hearing about techniques and repertoire in the classroom.
I appreciated that Ms. Martinez was not afraid to speak of her failures, and I hope that she knows that through sharing personal disappointments (such as losing a vocal competition) other singers will learn from her mistakes and become better musicians themselves.
I look forward to reading her next column, as I am sure that she will continue to shine the spotlight on important issues for opera singers.
—Heather Adelman, via e-mail
[Watch for Ms. Martinez’ next column in the June 2007 issue. If you have a question you’d like Ms. Martinez to address in a future issue, e-mail it to editorial@classicalsinger.com.]
Dear Editor: I played for an audition today that I know was a sham. The singer paid $125 for the opportunity to audition, supposedly for 10 companies that were casting singers in all the big Verdi and Puccini operas.
Turns out the audition was for one woman in her filthy apartment, [who was] shooting with an ancient video camera. After suggesting that there were true opportunities to be had with real opera companies, she auditioned my singer for the possibility of casting in a concert of Puccini arias in her “touring concert opera company.”
This woman very cleverly makes sure the checks are cashed long before she reveals her identity. Even the location of the audition was only provided two days before the audition. I might have recognized the address as Priscilla Gordon, but by then the check had been cashed and my singer was preparing for what we thought was an important audition.
I’ve seen Priscilla Gordon’s performances in church basements. She claims to be interested in “helping singers’ careers,” but after this experience I am sure she is mostly anxious to take singers’ money.
—Name Withheld, via e-mail
Dear Editor: When reading [the January issue of] Classical Singer this past month I came across a negative review of the Intermezzo Opera Festival Summer session held in Palm Beach, Fla. It was written by a college participant. I attended the high school program and completely disagree with this reviewer. This two-week-long summer camp improved every aspect of my musicianship.
The high school program was run by Priscilla Bagley, who was an exceptional leader. She not only provided us with professional instruction but also made sure we were taught by numerous adult singers with differing techniques. I have attended many masterclasses before (including the Rice University Summer Vocal Camp for high school students) and I can firmly say that I gained more experience and valuable information at Intermezzo than at any other program.
The reviewer in your January issue complained of poor scheduling, a lack of promised lessons, and organizational problems. Although I am speaking from my own experience, I did not encounter these problems. Our schedules were posted upon arrival and each day was set in block timing. Each day was full of activities including one voice lesson, one lesson with an accompanist, IPA lessons (English, French, Italian, and German), and a masterclass on technique, and recital preparation.
The high school program was shorter than the college and we did not get to put on as many performances, but I am extremely thankful for this experience. Other lessons provided were Vocal Pedagogy/Vocal Health, College Audition Information, and Relaxation techniques from the prestigious Jesus Garcia.
In addition we worked with Mitchell Piper almost everyday and were given advice on everything from auditions to performances. I am not at liberty to judge the college program, which ran alongside the high school program, but I want others to know the positive impact this had on my vocal ability. I would recommend it to any singer pursuing a professional career with an appetite for learning.
—Sarah Teague, via e-mail
Errata:
In the article “Headquarters: San Francisco” in the April issue, Mission City Opera was inadvertently omitted from the list of opera companies in the San Francisco Area. Classical Singer is pleased to have Mission City Opera join us for the Classical Singer Convention ‘07 as a participating opera company in the AudComps.
