ºDear Editor: CS is a must-have for singers young and old. It’s always full of useful, informative and inspirational information. It’s a survival/planning guide for college singers. —Kenneth Kellogg, Ann Arbor, MI
Dear Editor: Thank you for the exciting article on the Alexander Technique [“Watch Your Back,” June issue, p.22]. I used it as a reason to start my own Alexander lessons. After only a week, the differences were apparent in my voice and my jaw. I have fought jaw and tongue tension for years. The jaw and neck pain would become so intense, I would often stop my practices. I wouldn’t audition much, because I knew I couldn’t get through a role without having to stop because of the pain. I almost quit singing, because I thought my body couldn’t handle it. But after one month, I can sing without pain, and it is AWESOME! Everything about my singing is different, and my voice is richer and fuller. It feels so good to sing well. The lessons weren’t cheap, and I had to miss a couple of voice lessons and coachings to cover the cost, but it was definitely worth it. My voice teacher, who has sung all over the world, including the Met, nearly cried today because of the progress I have made. She said she believed that Alexander has helped me to open up and sing from my body.
—Name Withheld, WI
Dear Editor: As a soprano, I truly appreciate all of your articles regarding menstruation, birth control, and the female voice. There were questions I have had for years that are finally answered. —Name Withheld, Manchester CT
Dear Editor: I am a concerned singer who recently finished a reputable summer program. I must preface this by saying that I am not a young singer, but I am still new to the opera world, having made the conscious transition from musical theater about two years ago. I wished to obtain some experience in operatic roles, and I felt that the program in which I participated gave me that opportunity.
Here is my dilemma, and I am sure I am not alone in this: I am still trying to get “into the loop,” as it were. A colleague of mine at the program interviewed with the artistic director and was told, in not so many words, that singers past the age of 30 are not being welcomed into most summer apprenticeship programs. (The program I participated in was a pay-to-sing.) It seems that the only singers being taken beyond the age of 30 are basses, and most sopranos must be younger than 25 to be seriously considered. If this is the case, I feel very strongly that age discrimination is taking place, and on a wide scale. I for one will be left with little or no hope of ever pursuing professional-level opera gigs, if these are indeed the facts.
I’m not attempting to be petty, but I’m sure most singers out there are aware of the “worship of youth” taking place in all aspects of the entertainment industry. Baz Luhrmann’s production of La Bohe`me on Broadway is the most glaring example of this trend. I’m also aware that the opera industry has to face the realities of contemporary audience demand; the paying audience is at least as entranced with the visual image on the stage as with the avocal qualities of the singers. (And I am not stating that people presently succeeding in the industry, or in La Bohe`me, are bad singers. Far from it.)
My point is this: I feel that, at least in the United States, there is a concerted effort to “youthanize” the industry. As a result, many singers who are a few years older (mid-30s) are being passed over because of a lack of experience (due mostly to a prior lack of opportunity, in most cases) in favor of younger, less mature singers. I also feel that there is a strong misperception that younger singers have more “upside” or “potential” than singers who are still relatively young, yet more mature than the 22- or 23-year-olds being given preference in the vast majority of apprenticeship programs across the country.
Also exacerbating the problem is the lack of opportunity for singers who might not have a “Met” voice, but who are solid, superb musicians with plenty of voice to fill smaller houses. It seems that the typical American impresario these days is trying to fill the 1,500-seat hall for six to eight performances, instead of filling a 500-seat hall for perhaps 12 performances (obviously, over an extended performance schedule).
I guess my larger point is that many quality singers who might be stars are not being given opportunities to perform at a high level because younger, more strident voices with shaky technique, but with the stamina of youth, are being given preference. And I believe the art as a whole is suffering as a result of business decisions.
I guess this is no secret, and I am probably stating the obvious with this particular missive. However, it seems as if this realization is being treated as best-left-unsaid. Maybe it’s time to speak openly about it, if for no other reason than to face producers and directors with the realities of the choices they are making. Maybe they will see the need to broaden their perspectives a little, and instead of “taking opera back to the masses,” they can bring opera back to the level of intimacy it enjoyed in the days of Bel Canto and Lyric Romanticism. —Name Withheld, via e-mail
I agree with everything you said except for one thing: that producers want to broaden their perspectives. They are very consciously choosing to “youth-anize” as you so aptly put it. So…singers have three options:
A: You can complain about the way things are, which can include writing letters to CS, talking to other singers about how unfair it is, filing discrimination lawsuits (a bad idea for the future of your career), etc. CS is always willing to listen to you, because we know how frustrating this career can be, but please realize that it doesn’t help you to stay with option A longer than it takes to write a letter that helps you vent. Move on!
B: You can decide to create an illusion of youth and work with the system, which is definitely demanding youthful looking singers. Hollywood has been doing this for decades, and the opera world is just catching on. Singers who do this often get plastic surgery, botox or collagen shots, hit the gym for an hour or more every day, diet, learn to dress young, wear their hair in young styles, keep excellent posture, look cheerful, and stay out of the sun. They never, never reveal their age—that means no Young Artists programs or competitions. They have to learn to climb the career ladder another way, because they will not reveal their age on entry or application forms! This is not an impossible option, and a lot of singers are fooling people already. (You’re been fooled yourself by them!) Some singers have even been known to forge documents. CS does not recommend that option, but everything else is fair game. It’s a war out there, and if you want to win it, you’ve got to resort to SOME guerilla tactics! First rule of warfare is to stop telling anyone your age verbally or by the way you look and act. This option makes some singers feel that they are lying, while others are so mad at the ridiculousness of the system, they are willing to do just about anything!
C. Singers can create their own market niche which does not depend on the La Scala track. Read Classical Singer magazine for help on this as we bring you story after story to help you along this line of thinking. Singers are going on tour, putting companies together, creating recitals, making a living singing! The world is your oyster as a singer of ANY age. YOU are in charge of your training. YOU put the opera program together if you can’t get what you want at a pay-to-sing. Put an auditions notice in this magazine—they’re free—and get singers together to do what you want done. There are no limits on you except those you are putting on yourself. It is true that option C may not get you into the Met (option B might if you’ve got the voice) but option C will get you performing consistently. Just make your choice and go for it! —Editor
Dear Editor: Wonderful and informative! We especially enjoy the medical information that covers such a wide spectrum of the “human condition” and how life itself, disease processes, medications, etc. affect “the voice.” —Thom King, Baltimore MD
Dear Editor: You should vary your articles more. You always seem to have the same ones. Articles could be better edited. Also would prefer to have auditions and classifieds in back where they won’t interrupt articles. —Sarah Sloan, San Francisco CA
When our new art director took over, this is one of the first changes he suggested as well. You’ll notice we have implemented this format in this issue —Editor
Dear Editor: Thank you for keeping me connected and informed. My dream to sing is nourished by your inspired articles. —Linda Marcinkusm, Ontario, CAN
Dear Editor: Would like to see articles about oratorio/cantata history, repertoire and singing. In-depth articles on choral festivals (Three Choirs Festival in England, for instance—going for over 275 years!) and singers specializing in oratorio, lieder, art song and church music would be helpful. Keep up the good work! —John Brooks, PA
Dear Editor: I can’t recall how to log onto the website. Can you help me? —Name Withheld, Newark NJ
It is very important that readers are able to use the website, since so many auditions come and go without ever making it to the print magazine! While we solved this reader’s problem immediately, we include her letter here because we want to reiterate instructions. Go to the homepage at http://www.classicalsinger.com. Look at the top of the site where the tabs are and pull down the tab you want. If you want auditions, for example, click the “auditions” tab, then “search.” It will prompt you for your username and password. If you subscribed by mail, we set up your username and password for you, and you were mailed a letter with instructions. If you subscribed online, you set up your own username and password. If you forget, you can go to the login page and click to have your information brought up using your email address. But if you’re still confused, call Jill or Aubrey for help at 801.254.1025. —Editor
Dear Editor: Thank you for this publication! The articles are so helpful, and I always look forward to reading each issue. As a young singer who uses a tax lawyer to make sure I have done everything correctly in regard to self-employment and deductions, I have found your frequent tax tips very helpful! I have shared the information with my lawyers, and they have enjoyed reading it as well! —Melody J. Wheat, Shoreview MN
Dear Editor: Technique needs to be addressed. —Name Withheld, New York NY
Dear Editor: I consider your magazine a source of inspiration, another tool to help keep myself focused on my singing and career goals. Thank you for producing such a quality publication. —Marth Lopez-Leschke, Sarasota FL
Dear Editor: I love this magazine. The only thing I wish you included more of is how young students of music (I’m 23 years old) should go about entering the professional world of singing (ie. headshots, auditions and how to handle them, etc.) Thanks! —Angela Kaczynski, Poughkeepsie, NY
The June issue dealt with résumés and what career steps to take, and every June the issue deals with headshots and your visual image. We are always talking about issues of interest to young singers, but it is currently difficult to find the exact information at the moment you need it, isn’t it? The solution is to make our website searchable so you can find articles in our archives. It’s on our wish list here at the office. —Editor
Dear Editor: I appreciate the sincerity of your approach—the honest, down-to-earth quality—the realness. It’s refreshing and reassuring to see our issues discussed openly; I feel supported and less alone.
—Anne Shapiro, Berkeley, CA
Dear Editor: It is wonderful to read the personal stories of singers, like me, who are following our path, using our gifts, and making the journey uniquely our own. —Kay Raplenovich, Westsalem, OH
Dear Editor: I wonder if you could interview a professional classical/opera singer who also acts in plays, TV or other venues. I’m wondering if there are singers out there who also market themselves as actors. —Delia Zielinski, via e-mail
