Carla Wood came to me through the exalted recommendation of one of my most trusted colleagues, Lyndon Woodside. I found Carla so personable, so intelligent, that our audition lasted a very long time. When I had asked near the beginning if she wanted feedback from me, she jumped at the opportunity.
That day, it was all about Handel, so I attempted to tell her what I know and what I thought, based on her Handel singing. She seemed so alert, so eager, so earnest, and so utterly professional, that we spent quite a long time. Near the beginning, she even asked if she could record my comments. I said that I was just another conductor with his own strong opinions. That didn’t seem to diminish her pursuit one iota, so on went the tape recorder!
Finally, when the time was over, I thanked her for accepting my ideas with such a probing and curious grace. And she said, “Well, now that I have it on tape, could we make all of this the basis for an article in Classical Singer?”
Flattered, I readily agreed. Later, a very cogently edited version of my coachings was sent to me for approval—to which I quickly agreed—and it was published.
I was honored to meet her, to talk to her, and to have some of our talk made public.
—Richard Westenburg
In many years as a director and a coach, one’s path crosses many talents. I met Carla Wood early in her career. As a performer, Carla was an exciting presence on the stage. It was her inner glow as well as her artistry that made her memorable. Recently, I discovered that CJ Williamson was in fact Carla Wood. Somehow, I was not surprised that the same generosity that she put into her performances was mirrored in her talent as an editor. Her concern was to help her colleagues in any way she could, and her brainchild has grown into a strong and necessary presence in the singing world. I shall miss her.
— Janet Bookspan
Dearest Carla:
Thank you for being such a precious friend to me. Thanks for always being a giver, not a taker, an encourager, not a complainer. One of your greatest gifts was that of service. You always had a servant’s heart, whether it was helping young singers, or old veterans like myself. Life is short, and I know one day, God willing, I will join you on those heavenly streets of gold, where we will make beautiful music together once again.
— Jeffrey Wells
I will miss you, Carla. Unlike many people who never had the pleasure to meet with you or work with you, I have. I had such fun sharing stories of life, fears, loves, and music. You helped everyone, including me, get through long days, and were always cheerful. Also, when it came down to performing, you practiced what you have said and heard from so many for so long. You’re a rock.
You have always been generous, kind, determined and a lovely woman I was fortunate enough to get to know. Thank you for your perseverance and vision. Yours is a beautiful soul that will linger in all of us.
— Cynthia Lawrence
Carla Wood was one of the very special young singers I met in my long association in Eve Queler’s Opera Orchestra of New York. I will never forget her wonderful Thisbe in Rossini’s La Cenerentola, and her regina Enrichetta in Bellini’s I Puritani, [and] also her many appearances at the Opera Orchestra’s … yearly benefit at the Union Club. Her voice had a luxurious quality, which was reflected in her personality. She was a dedicated singer, always striving for perfection. Carla was a unique artist I will always remember.
— Alfred L. Hubay, president,
Opera Orchestra of New York
It was my pleasure to work with Carla at the New York City Opera, where among other things, we performed Rossini’s Il barbiere di Siviglia together. I always found her to be a thoroughly conscientious colleague who brought a real sense of commitment and artistry to her performances. Beyond this, she was a delightful colleague, at once kind, sensitive, and good-natured, and a true friend. I will miss her greatly.
— Joseph Colaneri
Carla was one of our young artists whom I nurtured with the utmost of pleasure, for she absorbed my suggestions like a sponge. She will be remembered not only for her beautiful voice, but for her humanity and wonderful sense of humor.
— Eve Queler
I directed Carla as Meg Page in our 1999 Falstaff. She was just perfect. Her voice was beautiful and full of joy and laughter, and her comedic skills were of the highest order, making it a delight to work with her.
She had a wicked sense of humor: When I demonstrated to Falstaff how I wanted him to enter the basket, she closed it, sat on top, encouraged the rest of the cast to do the same, and laughingly held me prisoner for about five minutes amidst the laundry, until I agreed to give the cast a coffee break. Later, I pushed her in.
— Ian Campbell
I never met Carla Wood, but as CJ Williamson, she was a pithy and intelligent cyber pal and phone buddy. I knew that The New York Opera Newsletter … had grown into Classical Singer magazine. And I knew the magazine was sometimes regarded as “well intentioned, but…”
But nothing. No singer had a better friend than CJ Williamson. No charlatan bilking money from singers had a more ruthless critic. No mouthy contributor escaped a gentle rebuke. I still have in my Inbox: “You are not smarter than everyone else, you’re just LOUDER!” So there.
CJ made the 2 percent of the profession, the bad apples, accountable to the other 90–plus percent. She cared about a singer’s success, sometimes blinded to the reality of a difficult business. But I think it was more her wish that the world be the place of kindness and integrity with which I know she lived her life.
CJ Williamson was a woman of strength and valor, and it was a privilege knowing her.
— Christopher Purdy
If it is possible to fall in love with a lady editor without ever having met her, it was Carla. Not because she was beautiful, talented, and intelligent, mind you, since my only image of her was through a brief e-mail correspondence and her photo on the CS website! Rather, here was an editor who always had a warm prompt response to my submissions (after a writer’s-block hiatus of 25 years), and found the time—while overwhelmed with her editorial job—to exchange anecdotes about her opera career (much too brief, sadly!), my own (much too long, I suspect), and even about Sadie, her cat, as she knew I had two of my own.
Thus, Carla inspired me to write again. I will remember her as “my angel editor.” I already miss her immensely.
— Les Dreyer
I met CJ Williamson because I was online, complaining about what a rag her magazine was. At the time, it was known as The New York Opera Newsletter. What my specific criticisms were are no longer in the old memory banks, but I do remember that CJ was gracious.
“Everything you said is true,” she wrote. “I want you to come and write for us.” That was the start of a 10-year association with Classical Singer, and a 10-year friendship with CJ, aka Carla.
I have always been the staff curmudgeon, growling when I thought something was dumb or inaccurate, or just plain wrong. Carla was always the idealist, the positive one, sprouting ideas like seedlings.
“You have to tell me two positive things for every negative thing you say,” she insisted.
Carla could’ve simply pulled rank—after all, she was Editor-in-Chief. But she never did that; she respected my passions and opinions as I respected hers. She understood, I think, that I wanted what was best for the magazine, even if we didn’t always agree on what that was. And I understood that this was her baby, her achievement, born of her passion and desire to help singers and improve the profession of singing.
Singers are each other’s best resource and best support. Carla provided us with the means to share those things, through the magazine, through the forum, and now through the Convention. I am grateful for her life, her work, and most of all, her dear friendship.
Good night, sweet friend, and fare you well; go on to blessed rest.
Your work and spirit will live on in the hearts that loved you best.
— Cindy Sadler
In many ways, Carla Wood was a typical singer, but in one way, she was completely unique. She took her own professional life experience, the good and the bad, and used it to make life easier for the thousands of similarly hard-working singers in the CS family. Rather than complain about the hard life of a singer, she shared this life with others, to make life better for them.
CS has always been about an exchange of life experiences, a forum and a support group for the otherwise neglected majority of singers: the young starter, the older singer doggedly pursuing her dream, those who temp and wait on tables. By showing them that they are not alone, Carla left behind an unprecedented legacy that is much greater than any one “typical” singer could. I will miss her.
– Dr. Anthony F. Jahn
Carla Wood was a wonderful singer. When my husband, Sherrill Milnes, had her in his cast of Falstaff as his Meg, we remember what a charming character and beautiful voice she brought to a role that isn’t as thankful as many of the others in the cast. I’ve never seen another Meg as attention-getting. Some of it was the twinkle in her eye as she sang.
Maybe it’s because she simply loved singing so much. It was … her love of singing that led her to create CJ Williamson. As CJ, she revolutionized the world of classical singing. Even when it meant making enemies, she fought for the rights of the singer and spoke out when they were being mistreated. She was truly an advocate.
I can still hear the tone, inflection and charm in her voice—along with that twinkle. We will miss you, dear friend.
— Maria Zouves Milnes
I will miss Carla, a bright light of intelligence, warmth, and love. I will always remember how she opened her home to me and provided a place for me to teach in the New York area. I enjoyed sharing ideas with her, whether they were about singing, cooking, God, or the latest nutritional information she had gathered. Her scope of interests was so reflected in her beloved magazine, which originated from her love of service to mankind. She will always be in my heart.
— Jane Randolph
Carla made a difference in every life she touched. Her talent was great, due to her dedication and diligence in preparing her roles. The most minute detail was given close attention in working to perfect her singing technique.
She was a superb coach. My students who had the privilege of working with her found new ways of expressing themselves, as well as learning how to understand the character they were playing and the music and text they were learning.
From the beginning of our friendship, I felt such warmth and acceptance from her. Her wonderful sense of humor, her manner, her way of expressing herself in her teaching and in her relationships, made us all better artists and human beings. Her legacy will live on for generations. Not a day goes by that I don’t miss her and want to talk something over with her. — Betty Jeanne Chipman
I had the honor of sharing the stage with Carla in a production of Otello. She was Emilia and I, Iago. Acting with Carla was easy as falling off a log, because you always knew she wasn’t Carla. She was the character.
We met up again at New York City Opera, where we worked together a lot. I was always struck by her work ethic. She would work harder than everyone else, and give more, dramatically [than anyone]—including me. There was never a question whether Carla would be prepared or not. She was always fully memorized and sang her roles with excellence, whether it was two-liner, a medium-sized role, an ensemble role, or covering a title role.
I saw her from a house seat on one occasion. Carla was a standout as Adalgisa in a terrible production of Norma. She had worked her craft to the point that when she was onstage you couldn’t take your eyes off of her, and when she was offstage, [you] wondered, “When is Carla coming back onstage?”
I’m afraid at times like this, when I miss her, I keep asking myself that very question.
Knowing I won’t hear that laugh again makes me very sad. But knowing the world won’t enjoy that voice again, or see that dramatic talent, is nearly unbearable. Carla, my friend, my colleague, my sister; I’m going to miss you terribly.
— Mark Delavan
For the decades I knew Carla, we exchanged “mezzo angst emails.” We talked about everything from raising a family, staying young, making auditions last longer, to my nonstop romance disasters. I have one particularly inspiring piece she wrote when I was at rock bottom. Basically, she said, “When you are on the floor, a puddle of Jell-O, a mass of homesickness, wallowing in insecurity and self-loathing, with a heart that aches, with a throat that burns,and the threads of your spirit seem to be blowing away, remember you are not alone. Remember you are loved. By God, and by me.”
She loved her children, her husband, her music and her friends. And we loved her right back. I do still—except when we were both auditioning for Rosina. Man! Could she sing “Una voce…” Her high C was stunningly forever out of my reach. I was green. I went after her in one audition, and I think I ended up singing “Feelings” or “Happy Birthday,” or playing it on the piano.
My jaw is still dropped remembering that day in Studio 57…58? You know the place.
— Suzanna Guzman
Carla was one of those people who are not afraid to say what they think. I tend to gravitate towards those kinds of people because one always knows where one stands. It’s honest and welcoming and you feel secure. I knew right off that this was a woman of substance, and someone I would like. I admired her for being so fearless, and for having a vision to make a magazine where young artists could find the answers they need for their careers and lives. She made it so that Classical Singer went that “extra mile.” It isn’t just a “handbook” for young singers, but it’s also a guide: informative, controversial at times, and just plain fun to read! I’ve watched its evolution, and since it looks like it’s going to continue in that same vein, I know Carla would be proud.
Carla Wood: vivacious, fun, smart, innovative, professional, sensitive, loved, missed.
— Jennifer Larmore
[Carla and I] first met for a Beethoven Ninth on a sweltering summer day in Dayton, Ohio. As it was an outdoor event and the heat index was well over 90, with humidity to match, we agreed it would be fun to “phone in our parts”(she had counted, all 68 measures!). It was instant “like.”
The rehearsals were humanely done in an air-conditioned hall, so we never experienced the stage until the night of the concert. The heat remained unrelenting, but mercifully, we were not asked to sit through the first three movements. Once seated, I thought I might faint from lack of air and looked over briefly to see Carla’s perfectly applied make-up sliding down her face—“dripping” would be more appropriate. I felt so bad for her, “transpiring” like that. Minutes or seconds later, I heard the first “kerplonk” on my score, and watched as the ivory-beige puddle increased in size. The divas were melting! Ah yes, the sweat that binds.
I have been honored to know you, Carla, as a friend, confidant, colleague and editor. The memories will be cherished until we meet again (remember we talked about this). Ruhe Sanft.
— Teresa Seidl
My first introduction to Carla Wood took place at an audition in New York. Carla breezed in, full of positive energy, and impressed everyone with her lovely sound, as well as her wonderful musicianship. At that time, I also witnessed what became a trademark of hers: she was always willing to jump in and help out. The next singer’s accompanist had not arrived, so she quickly offered to use her considerable piano talents accompanying her colleague.
It was my pleasure to know and to work with Carla in the following 10 years. Her dedication to helping others manifested itself at so many levels. Her illness made itself known at one of our last jobs that we had booked together. She was devastated that she needed to cancel that Mozart Requiem, and it broke my heart to know what she was going through. In true Carla style however, she touched me deeply with an e-mail a week later, apologizing and worrying about my losing money because she had to cancel that concert. It was the pure essence of Carla, going through such an ordeal, that her thoughts were not about herself, but she was concerned for me!
It is always difficult to grasp why someone so special should not live a long, long life so she could continue to share her gifts. Carla, we will miss you.
— Jean Seidl
Carla and I met when I had just started at Columbia Artists Management. She was an exquisite singer with a lovely, elegant voice. Carla always sought to find answers to the myriad of questions plaguing singers; her empathy was outstanding, and also personal.
CJ always was interested in my work and in my personal and family life as well. She was so thrilled about the Convention and I have a handwritten note from her saying, “It will be so much fun.”
Spiritual, sensitive and proud—that’s my remembrance of Carla, aka CJ, and I miss her very much.
— Connie Barnett
My deep regard for the late Carla Wood, CJ to me, began when I first met her at the 1998 NATS convention in Toronto. My admiration stems from the reality that, while many musicians publicly affirm CJ’s beliefs about singers’ problems and needs, she is the one who did something to help, and did it on a grand scale. She leaves to us a thriving professional organization that stands as a monument to her caring and her intelligence.
— Shirlee Emmons
It is perhaps the goal of most humans to leave the world better for our having been here. It took me the first half-century of my life to begin to comprehend that the life of a singer has the power to change things, perhaps more than most. Carla did all that. She sang in the big houses, she sang in the churches, she sang at the bedside of the sick and dying. Who can measure the value of those gifts? But the crowning achievement of her singer life has to be her heartfelt concern for the places where we all needed more—more guidance, more hope, more possibility, more inspiration. She devoted her considerable energy, of heart, mind, and soul, to providing a way for those gifts to be given to singers so they in turn might give more to the world.
Is the world now—and in the future—better for Carla Wood’s presence? Oh, yes indeed. Thanks, Carla. Well done!
— JoAnn Ottley
As the head of AGMA for the past five years, I knew Carla Wood as both Carla, a member of our union, and as CJ, the editor of our articles, but in both capacities she was resolutely dedicated to our shared goal of improving the professional lives of classical singers.
For me, that’s my job. For CJ, it was an ideal and a cause. She was never afraid to commit her time, her energy, her reputation and her magazine to the defense of singers’ rights and to combat illegal discrimination, inappropriate management, and inequitable treatment in the workplace.
She was a friend of mine, of AGMA’s, of opera, of classical singers everywhere, always ready to fight for fairness and for truth.
— Alan Gordon
CJ always had something to share and a story to go with it. Staff meetings always were filled with laughter. I will miss the many conversations and advice about balancing a family and a career. My first Christmas party with CS was more of a family gathering with CJ making sure we had enough to eat, or drink. Thank you CJ for everything.
— Blaine Hawkes, Classical Singer
I met CJ on my first day working at Classical Singer. She walked in the room, shook my hand and said “Hi, I’m CJ or Carla or hey you…Whatever you feel like calling me.” and then smiled as she walked out of the room toward her office. It was CJ’s smile and laughter that always brightened up the office. She made everyone in the office feel special whenever we were around her and was concerned about everything going on in our lives outside the office. I will always remember the special times I had with her forever in my heart. Thank you CJ for the music you brought into my life and most importantly for your friendship and love.
— Aubrey Werner, Classical Singer
The thing about CJ is she always made you feel comfortable. Her smile and sense of humor helped you relax, no matter the situation. It felt good to be around her.
—Alex Stoddard, Classical Singer
