Dear Editor: I enjoyed the review of Presser’s Sheet Music CD —I’d already purchased the CD. Three things—the first an error: Charpentier, not Massenet, wrote “Louise” and “Depuis le jour.” Second, it might be worth mentioning that the CD doesn’t always have the music in the preferred language for singing it. Sometimes an aria is presented in French (“Ombre Legere,” even if it is normally sung in Italian (“Ombra leggiera”). Finally, there is no table of contents on the outside, which means you must trust that the CD contains “every major aria ….” While it is quite comprehensive, it does miss some arias that I’d like to see in it, and some arias presented are not complete: “Prendi” stops without continuing into the allegro “Il mio rigor.”
—Jacqueline A. Jones
[The following letter is in response to the editorial January 2002 asking why composers don’t seem to be responding to current events such as 9/11]
Dear Editor: Thanks for the challenging questions! Some of us, especially those of us who have an ongoing interest and committment to social justice issues, do have pieces in our folios that are entirely appropriate, even if not specifically about a certain event. I might recommend my own “The Peace of Wild Things” from my song cycle of the same title on poems by Wendell Berry (scored for mezzo, horn and piano). By chance, this cycle was performed by the commissioning group, Morpheus Trio, in the fall soon after the 9/11 tragedy. A number of people in the audience commented on the special meaning the song had for them. All singers and presenters have to do is ask composers. Most of us, if we do not already have something on hand, would welcome the opportunity to make something new. I would also suggest that composers often do respond to current events in a timely fashion. However, the producers of special “memorial concert” shows for the mass media typically seek out recognizable headline names, i.e. pop stars, to guarantee their advertisers a large audience. Even supposedly “public” and “classical” radio stations play this game, as I have learned from several discussions with program directors. Indeed, I left one such meeting with a number of good new music CDs in my bag (Glass, Larsen, etc.), given to me by the program director because his “classical” station was never going to air them. A number of my jazz musician friends have had similar experiences. Such is the state of music in our culture.
—Ron Warren
Dear Editor: I would like to see more practical articles on how to contact and arrange auditions for reputable managers. Also, any articles on concert and oratorio careers and career training as it differs from the opera world. I’ve heard it can be a saner choice. I’d like success stories of female singers who balance family and careers; they don’t have to be superstars…just making a living singing. It would be encouraging. Thanks for all you do to keep us singing! —Laurel Davis, GA
Got you covered. Read Management The Book, available at our office for your first request. Your second and third requests coming up in cover stories soon!
Dear Editor: In the section where you discuss a specific aria, I would love to see you focus on a LOW bass aria, like something from “Abduction.” Other than that, I love CS magazine. —Andrew Semegram, NJ
I’ll pass your suggestion on to our coaches!
Dear Editor: I am suffering a vocal injury and would love an article on that.
—Name Withheld, Astoria, NY
Our sympathies go out to you because we all know you’d rather be singing. I wonder what kind of article you are talking about since Dr. Jahn writes about all kinds of injuries. Maybe you are talking about a human-interest story of the whole saga. First, I’d have to find someone willing to talk about it. Any volunteers?
Dear Editor: I would appreciate articles about singers who aren’t trying to make it to the top of the field. I’m interested in those who have enjoyable local or regional careers perhaps combined with teaching or some other career.
—Theodore Sipes, Ann Arbor, MI
Well, this is the issue for you then…although we’ve gone to Africa to find someone who is enjoying a very regional career! And we’re also suggesting you try your local prison as a performing venue! Love to hear from you!
Dear Editor: I wonder if you could interview some people to see how they feel if an older singer approaches them. Should we be concerned about presenting ourselves for auditions?
—Name Withheld, Bayone, NJ
It would depend on a lot of factors. Are you 55 years old and auditioning for ingénue roles? That could be a problem, but how about Berta? Back to your question, if I did ask people that question, they would by law be bound to say the politically correct thing. It’s hard to get at the truth! So wouldn’t it be wonderful if someone with a lot of money and organizational ability would start a great opera company and call it “Voices of Experience.” No one could sing for this company unless they were 40 or over!
Dear Editor: I would strongly prefer to receive auditions listing updates by e-mail IN THEIR ENTIRETY…not just a link. It is time consuming and I always seem to have trouble. —Michelle Areyzaga, Elburn, IL
The audition update emails contain links instead of text to protect you as a paying subscriber to Classical Singer. It assures that the individuals who pay good money for the information are the ones who receive it. It wouldn’t take too many unscrupulous colleagues to forward these valuable listings around the world for them to lose their exclusivity and value to you. Email is just too easy so we have opted for this measure of protection.
