Dear Editor: Classical Singer magazine has been a wealth of information to me as a young artist. Your articles are very unique to the opera world and have broadened my knowledge.
—Lauren Furman, Agoura Hills, CA
Dear Editor: Thank you for the service you provide to singers. Quick comment: Most content is superb. The cover art should also be of a consistently fine quality, it is not.
—Name withheld, San Diego, CA
Dear Editor: Most articles are a lifeline to those of us in the business. Articles often inspire and offer up-to-date information on the business of singing. Please refrain from becoming an Opera News magazine full of super-star interviews and reviews from the Met! There is so much more out there to cover. Thanks!
—Denise Freeland, Alexandria, VA
Dear Editor: Three months ago I applied to sing for the Opera Birmingham vocal competition. I called to see my status and was told I had been given an audition time. When I asked who would be playing for me, I was told they would not tell me the person’s name until 10 minutes before I walked on stage.
I was surprised by their stance on this matter, so I requested to instead arrange for my own accompanist, and was told I could do so—but they would keep my accompanist fee and not return that portion of the fee to me. I felt this was highly unusual, and so they gave me to the “general director,” who said it was unnecessary for me to know who would be playing for me, and that their accompanists were pros and needed no discussion of music before performing.
Then I asked who would be judging for them this year, and he again said that they never disclose that information to the singers.
I am surprised by this, because I have never been told that my accompanist will remain a secret and who I am singing for will remain a secret. I never do an audition unprepared, and I feel very uneasy with this situation. I expressed to Mr. Jones that being a professional singer, I did not like to put myself in the position of auditioning when I had not been able to discuss my music with the accompanist before I arrived to audition, to which he replied, “Out of 70 singers there is always one like you, who likes to blame others for why they don’t sing well.”
Needless to say I am insulted by his remark. It would be wise not to spend [one’s] time, energy, and money to audition for someone like that.
—Name Withheld, Via E-Mail
Dear Editor: I participated in the Fresno Opera League competition this weekend, and found out that the grand prize winner of $1,000, Andrew Pardini, was a student of one of the judges, Lukas Cerny.
I have participated in many competitions that seemed “fishy,” but I have never known the inside information before. My accompanist from the competition told me.
I am shocked by this unethical behavior! The competition was supposed to prepare young singers for larger competitions and the “real world.” I didn’t think I would also be learning this lesson that is equally as important as audition experience! The judges and the facilitator (why would she need to be involved?) of the competition went into a little room for quite a while and “convened.” It’s over now, but it was upsetting at the time.
—Name Withheld
CS contacted the Fresno Opera League to investigate this complaint and learned that Andrew Pardini is not a student of Lukas Cerny. Eric Buck Townsend, Andrew’s teacher, did not judge him in the competition. Thus, the two that judged Andrew, Dr. Jessica Molin of the University of New Orleans and Lukas Cerny, did not know him. The facilitator was involved in selecting the winner in just one way; she tallied the points from the judges’ scorecards so that neither judge knew how the other had voted.
Dear Editor: Could you do an article on Young Artist Programs like Chicago Lyric, Washington National Opera, Wolf Trap, Merola, etc.? Also, I don’t know much about Texas schools’ Austin (University of Texas), U of Houston, U of North Texas, Rice. Thank you for a consistently interesting magazine.
—Name Withheld, Haymarket, VA
Dear Editor: I look forward to every issue of Classical Singer, because it makes me feel that I am part of a community of musicians. I particularly enjoy the interviews with singers and teachers who discuss technique and the experience of performing. I also love to hear the tips from fellow artists on time/money/life management. I can always use advice on how to manage things better.
—Sarah Downs, New York, NY
Dear Editor: You’re doing a fine job. I wish you were around when I began my career in the ‘70s after my wife passed away from multiple phyleoma. I wanted to give recitals to help fund [research to cure] the disease. I hadn’t given one in 14 years, but I was fortunate to meet Mr. Jerome Hines, who helped prepare me. I was one of his last students… I only took seven lessons with him, but he changed my singing and teaching. I went [on] to raise over $3,000.
—Name withheld, New York, NY
