This month’s issue is a treasure trove of articles for singers on all levels, with a host of special features for singers who enjoy summer programs.
Our cover story highlights Indra Thomas, a young singer who is coming into her own. We’ve provided a sound clip so you can hear why she is on the rise. [http://www.classicalsinger.com/Thomas]
Neil Semer, who previously brought us a wonderful article on singing Bel Canto, writes about how to sing musical theater safely! We have great articles by the Met’s Joan Dorneman and Jane Klaviter, a feature on how to be at the ready when you have to sing after sitting for long periods of time, some help on your finances, and the always popular Dr. Anthony Jahn answers your questions. We offer advice on developing the critical skill of mastering rejection, and our second part of a two-part series on how to sing spirituals, plus “Ask Erda” and some help on how to redo a resume and photo.
SUMMER PROGRAMS: Classical Singer magazine thinks good summer programs are invaluable to singers from high school through the emerging level. Once a singer is singing small roles professionally, the only reason to do a summer program is to try out a lead role in a safe environment. (It can be heaven to sing a lead role when you’ve been singing bit parts for a few years!)
Singers get so much good out of a good summer program—and 99.9 percent of the programs out there are good.
Most programs offer chances to perform. At many programs, singers learn entire operas, sometimes too many operas! At one program this year, singers were saying, “uncle”! They had to be in too many places at once. At other programs, singers would have liked to perform more. The point is, you are performing.
Age isn’t a barrier at many programs. Check the age ranges and ask before you send your application money in. Will you be allowed to sing if you are a 45-year-old soprano who sings well? At several programs, the answer is “yes.” If you are a 45-year-old bass, the answer is definitely “yes!”
Singers learn their limits at summer programs; they learn to say “no.” That’s an invaluable lesson better learned in a safe setting then on a professional circuit.
Summer programs give singers an opportunity to work with teachers they will not have access to during the year. Read Wendy Harmer’s story on page 46 to see how this can work. Many of the programs have teachers from the Met, or New York teachers who are incredibly knowledgeable and difficult to have the chance to study with elsewhere. Ask to see the bios of the staff of the program you are considering.
Summer program singers find out what they’re made of! They’re able to work much more intensively than they do regularly. The schedules at the programs are usually very intense—singers may even learn a new language or experience a new culture. At the best programs, singers will make professional contacts that will boost their careers.
Last but not least, at most of the programs, singers will have a lot of great experiences, experiences that will create memories to last a lifetime.
When you consider what you are getting for the price you pay, it’s a great bargain. Most of the time. You will note on our list of summer programs that there are still a few programs out there that CS does not recommend, based on past experiences and reports from singers. For more information on why we don’t recommend them, please see the January 2002 issue, easily available on the CS archive at our website, which is now searchable by keyword, phrase or issue date at http://www.classicalsinger.com
CS’s opinion is one thing. We think you need to hear it from other singers and from some of the administrators of the programs—so in this issue we bring you the story of Wendy Bryn Harmer, who had a real career boost from attendance at summer programs.
In addition, you’ll read selected quotes from singers who attended the programs. You’ll also read articles from the administrators and founders of a few of these programs. They aren’t writing here about their programs, but rather about an aspect of singing on which they are experts. We wanted you to see what kind of people run these programs…truly amazing people who care greatly about the singers they teach. Summer programs are great places to be. We hope you’ll take advantage of them—and we hope you will be careful and not allow the very few problem programs to take advantage of you. Please do your research, and advise your students and friends to do the same.
Have a great time next summer!
If you have a question about this article or anything else, please write to Ms. CJ Williamson, editor of Classical Singer magazine, at cjw@classicalsinger.com or P.O. Box 95490, South Jordan, UT 95490. Letters can be used as “Letters to the Editor” if you would like, “Name Withheld” if you’d like, or meant for the staff only. Just let us know.
