Dear Editor With interest I have read your interesting report about the Metropolitan Opera Association and your interview with Mr. Volpe. As our artists agency [Hollaender-Calix] is mentioned in the Classical Singer magazine (November 2002, p. 40), yet with a print error (“Bhnenvermittlung” instead of “Buehnenvermittlung”) and “A” should go directly before the zip code.
—Dr. Adrian Hollaender, Vienna
Dear Editor Your articles and information are of great value to singers and teachers of all ages. The series on abusive teachers was very shocking, since the worst of them were frequently described as “famous” with students crowding their doorsteps.
—Nitza Niemann, Beverly Hills CA
Your particular studio, as I remember it, is a model for non-abusive behavior—a warm, nurturing environment where you encourage and motivate singers to perform at their best. As I remember, you even go out of your way to find work for singers. I’ve had many letters from excellent teachers such as yourself who had no idea abuse was happening to singers who left their studios. I have been surprised since the issue on abuse came out to find that some teachers who are very nice people to me personally run a very different show in the privacy of their studios. For this reason, it is imperative that students be able to think for themselves when abuse is happening to them despite a teacher’s good reputation. I’ve had a few letters from singers living in small towns who are very upset that we brought up this issue. They didn’t want the letters printed but are convinced abuse doesn’t exist and that we are sensationalizing the magazine. Thank you for taking it seriously so you can prepare singers before they leave your safe havens to move, go away to school or come to New York. We’ve had many requests for reprints.
—Editor
Dear Editor I live and work in Germany, and I read with great interest your editorial about auditioning behind a screen. I think that would be great! I don’t always know after an audition why I was turned down. Sometimes I know that I did not do my best or just sang poorly. Those are no-brainers, but what about when I go and felt that I sang well and that they were interested, but I still didn’t get a call? I almost always find out who did get hired; the singers’ community is a small one. When it’s a tenor that I believe is fantastic, then I know why I didn’t get a call. However, that is not always the case. I think many engagements are based on looks or characteristiCS alone. My vote is for the screen! On another note, recently you answered a letter where you told the writer about European general directors holding auditions in the U.S. (Letters to the editor: March 2003). I saw an announcement for auditions being held in New York, and I thought it was expensive but a great offering. Then I found out that my theater, along with other theaters in Germany, received an invitation to go. Some theaters are sending qualified people, but others, such as mine, are sending the equivalent of the janitor! The person going knows nothing about voices, and if he did, he doesn’t have the authority to make a decision! To him, it’s a free trip to the States. This is not the only theater doing this. I have heard from other colleagues about similar problems. It is a good idea, but the German theaters need to take this a bit more seriously. Although it is expensive, the best method for Germany is still to come here and audition in person.
—Name Withheld, via e-mail
Initially, I was quite concerned when I got your letter and contacted David Blackburn who has invested some $80,000 in this project already. I was immediately e-mailed a list of the casting agents who are attending and the contract agreements with the houses. It is a very solid list—although contract agreements keep Mr. Blackburn from releasing it publicly until singers arrive for the auditions. (You can understand how the houses would be deluged if singers and managers knew who was coming!) I didn’t check every listing, but it looks like if there are any janitors listed there, Deutsches Buhnen-Jahrbuch [see ad on p.32] has some bad information as well. Mr. Blackburn himself has a good reputation so far, and he has legal agreements with these houses. It’s possible a few houses could have no-shows—but this looks quite legitimate on the face of it although CS cannot officially endorse the auditions. On the other hand, I’m sure that anytime someone starts to upset “the way things have always been done” there are going to be singers already working in Germany and German agents who will be suspicious and not happy about this idea. I, for one, am very glad to see someone taking the initiative to make some sense out of the very expensive audition process. Now, let’s do the same for American auditions!
—Editor
Dear Editor I live in Orange County, California. For the last five years or so, my singing ability has greatly improved. I discovered on my own how to achieve different tones and vocal qualities. This is very rewarding, indeed. I have had about two years of lessons…off and on. My problem is the high price of private voice lessons in this area—ranging from $60-75 per hour. There is no rationale for this. Can you suggest a way that I can continue to improve my singing ability on my own? I do read music and play piano. Are there materials that I can buy so I can study on my own? I sing jazz and blues at local club pro jam sessions, and I sing on my own about two hours a day.
—Rudy Berdine, via e-mail
While nothing can really replace a good teacher, if you are determined to work on your own, I’d suggest the book Discover Your Voice by Oren L. Brown. It comes complete with a CD with vocal exercises. If you go to amazon.com you can read reviews of the book. Oren Brown is well-respected and has done an excellent job with the book—at least as far as a book and CD can go. But please get to a good teacher as soon as you can!
—Editor
Dear Editor More competition listings would be niceæperhaps a more proactive approach to these listings would generate more successæmost auditions & competitions I found out about are not through Classical Singer, but that’s the main reason I subscribed in the first place!
—Name Withheld, Santa Barbara CA
We contact every competition and every opera company regularly, but it is through the help of singers like you that we keep up. That’s how the Classical Singer Community works! When you find something we are missing, please contact Suzanne Martiny, our Auditions Coordinator at auditions@classicalsinger.com or Lindsey Dickson at Lindsey@classicalsinger.com. Everyone greatly appreciates the help of people like you who let us know when you find something we missed. Thanks.
—Editor
Dear Editor I think this is a great magazine for young singers, but it is very focused on NY residents only it seems. There are hardly any opportunities listed for us Chicagoans!
—Name Withheld, Chicago IL
You are speaking of audition and competition opportunities, I assume, since the articles are not geographically centered. (The article on choruses was, but it featured Chicago). Your complaint has been registered in “letters” many times and the answer has been the same. Very few companies come to Chicago. The Met auditions are held there, but not many other companies spend the money. In fact, fewer companies are coming to New York. But it’s a trade-off, isn’t it? If you want to live outside of NY, plan on spending more to travel to auditions. It is a fact of a singer’s life.
—Editor
Dear Editor Articles are much improved this year! Vocal teacher abuse issue was greatæand instructive. I had all my students read the articles to warn them. Also would like more articles on teaching voice and how it affects the “singing” teacher!
—Name Withheld, Washington DC
So glad you are having your students read the articles. Teachers should insist their students read the articles on teacher abuse before they leave. Also I wish they would read the issue on summer programs. PLEASE PASS THE WORD ABOUT THE JANUARY ISSUE ON SUMMER PROGRAMS. Make sure it is passed around your NATS meetings. I keep hearing about teachers recommending problem programs! That’s a sure way to sour singers and their parents on the pursuit of singing for the rest of their lives.
—Editor
Dear Editor Really enjoy the “health” articles and appreciate your realistic and sensitive approach to “older” singers. Be nice to see more opportunities for semi-professional, mature singers.
—Colleen Case, Monkton, MD
Mature singers really have be creative unless they are mega-talents, but we’ll keep working on showing what can be done!
—Editor
Dear Editor My students and I really enjoy your articles.
—Rhonda L. Dillon, Glendale CA
Dear Editor Your magazine is a great resource for singers in the early stages of a professional career. I look forward to my magazine every month and read it cover to cover. Thanks for all the helpful information!
—Jennifer Graf, Hellertown PA
Dear Editor Generally, I’ve found Classical Singer to be an invaluable career tool for singers at all levels. Personally, I’d like to see more articles related to establishing a career via untraditional means, i.e., for those lacking a conservatory education, late starters (career changes), etc.
—Name Withheld, Arlington, VA
Connie Barnett and other writers are working on articles helping the older singer. We’ve had a lot of requests for this.—Editor
Dear Editor What a delightful magazine! My students and I eagerly await its arrival. Congratulations on the practical format and consistent high quality!
—Dr. Valerie Cowart, Nashua NH
Dear Editor CS articles are usually relevant and often interesting and helpful. I appreciate the warm community feel that pervades the tone of the articles. Lately it seems that the topiCS are largely geared toward students and very young or even amateur singers. Can we have more articles pertinent to established or at least emerging professionals?
—Jennifer Larson, Ann Arbor MI
The cover stories are always geared towards professional singers—and those who are thinking about a professional career. The only issue that is really geared for students is the September issue, and even that has articles for you such as how to keep a performing career going while teaching at a university. I guess I’m not clear which issue you are referring to. In this issue, fund-raising, Rudel, Jahn, and what is happening to Community Concerts really applies across the board, which is how we try to make all the issues except September. If I’m missing your point, please contact me at cjw@classicalsinger.com.
—Editor
