Dear Editor: First of all, I want to tell you that I was one of the people who made a New Year’s resolution last year in Classical Singer magazine. My resolution was short, sweet and to the point. All I said was, “My New Year’s resolution is to get into a Young Artist or apprentice program.” Since I made that resolution, I have participated in no less than three programs. I was a Young Artist with the Portland Opera and the Chicago Opera Theater, and now I am a resident artist with the Los Angeles Opera. I’m singing roles on the same stage as Placido Domingo, Sam Ramey, Sumi Jo and many others.
—David Babinet, via e-mail
A great letter to start with for the New Year. Thanks David! Anyone else? —Editor
Dear Editor: It would be fabulous if a new edition of the book Kein Angst Baby about auditioning in Germany would be released. Germany is changing so fast since the reunification.
—Sonja Pitsker, Petaluma CA
I contacted the publisher of Kein Angst and they have no plans to make an update. I’m waiting to get a review copy of a new small book for singers. I’ll let readers know what it’s like when I get it. In the meantime, we do have the 2003 edition of Deutsches Beuhnen-Jahrbuch available in our offices. This is a HUGE book with all the contact info for agents, opera houses, festivals, orchestras, etc. all over Europe. It costs $65 for subscribers, $75 for non-subscribers. We can also get 2002 books for $35/$45. Call Aubrey at the office at 801.254.1025.—Editor
Dear Editor: There is something that I would like singers to know about. These are “pay-to sing” or membership companies. There are many in NYC, and they go by various names—some trying to sound more professional than others, and some claiming to be professional when they are not. These companies typically charge $100-400 to do a role and promise various things. They looked good to me, so I tried one, and it was a nightmare. Not wanting to take that one experience and assume that all were bad, I tried another company—and another nightmare—but this time, I was out $300, so I just did the opera. Now, I know that there are indeed some very decent membership companies. My advice to ALL singers who are thinking about paying anyone for the opportunity to sing: GO AND SEE A PERFORMANCE FIRST! Please, take the time and do this for yourself, because the people in charge will promise you many things and even show you wonderful programs, articles, etc., but until you actually sit through a performance and/or rehearsal, you will never really know the truth. I know there are some great experiences out there, but please educate yourselves first—it will mean the world to you in the end.
—Name Withheld, via e-mail
Dear Editor: Thank you for the article “28 Days and the Female Voice.” The bibliography and herbal recommendations were particularly helpful. Maybe I’m suffering from PMS paranoia, but the doom-and-gloom was a bit much for me (“physiological changes…that WILL prevent her from realizing her potential as an artist…the self-doubt and guilt that often accompanies a disappointing vocal performance…”) Sure, hormones are another variable to deal with, and I realize that the point of the quote was to raise awareness of the fact that female voices may operate differently, or sub-optimally, at different points in the cycle. But I suspect that most of us have enough self-knowledge and technique to perform under these conditions, just as we must under the other continually shifting variables of health, climate and acoustics. It would be interesting to survey how many women do suffer from PMS symptoms that are unmanageable in regards to singing, and how female singers in general deal with changes in vocal terrain related to the menstrual cycle. Or, for starters, how many singers were aware of a correlation in the first place.
A basic piece of information missing from the article is that any woman whose PMS is beyond the routine has an actual medical condition and has a good chance of finding relief in mainstream medicine, by moderating the cycle using synthetic hormones (birth control pills) and/or addressing mood-swings and depression with anti-depressant medication. Even basic fluid retention is addressable with birth control medication. Perhaps readers could also be directed to some of the extensive current research on the correlation between PMS and depression (Christiane Northrup, Joan Borysenko, et. al.). In fact, those might be another couple of helpful articles: the effect of birth-control medication, pregnancy, etc. on the voice, and the effects of stress and depression on voice function. Also, is there a “time of the month” when voice function is actually enhanced? Thank you for publishing on such a valid and possibly “hushed” topic. But spare me the cartoon of a poor-little-victim female singer being accosted by a (male) “hormone.” Pathologizing female physiology isn’t funny or helpful.
—Alison Lund, via e-mail
Dear Editor: I have a request. I would like to see an article that discusses the mental aspects of singing that keep singers from doing all that they can do, namely fears. Fear of failure, fear of rejection, and fear of success. As I’ve worked on this in my own life, I’ve realized that the fears always boil down to what others think. The mindset is, “If I fail, what will people think? They will say bad things about me. They won’t like me.” or “If I succeed, people will be jealous and won’t like me. I don’t want anyone to feel bad because I’m good and they are not as good.” Out loud, this sounds self-centered and obviously wrong; still these thoughts can keep singers from accomplishing all they are capable of. Another attitude I have personally struggled with is the tendency to want to impress people instead of give them a gift. I suppose there are enough books out there to cover this topic, but it might be helpful to singers in a discussion form in the magazine. We can read books as much as we want, but knowing you’re not alone and that others struggle with the same thing may really help singers.
—Tiffany Baxter, via e-mail
Dear Editor: I’d like to comment on the letter from soprano Kristina B. Valcarce. I, too, am highly disappointed to learn that Metropolitan Opera National Council has lowered the age for auditions. I wasn’t able to apply this year, so I won’t be able to compete at all with this change. It’s frustrating that because of age one is barred from resident artist programs and competitions. I came late to classical music being a privately trained singer, and only in the last couple of years has my voice slowly begun to come into its own. I am soon to be 32 years young (I don’t consider myself in any way old), and the opportunities for someone who comes late to this part of the music world grow slimmer and slimmer. I’d like to know, if someone out there can please tell me, why are these discriminating age limits in place? Kristina B. Valcarce is completely correct when she says that many artists’ voices are “nowhere near ready at age 30.”The people seeking young talent shouldn’t allow a mere number to dictate who they do and don’t allow to audition or compete.
—Marie La Place, via e-mail
