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  • April 2004

Classical Singer Magazine
Balancing A Singing Career With A Full-time Job

Most professional singers have some sort of correlating career. Secondary income sources are almost always necessary due to high costs of living, student loan debt and the competitive state of
Aug 05
Straight from the Heart: Cavatina and Cabaletta

As singers, we can get so caught up in auditions, competitions and "forging ahead" that we forget what it is we are really doing. The power of music to heal, empower and transcend is very real and if we forget that, we forget who we are
Apr 01
Chess with Pavarotti

If there is anything on this planet a chess player dreads more than a trapped queen, it's a kibitzer. When the chess players are Met Opera musicians, however- and the kibitzer is Luciano Pavarotti, who politely inquires if he may please play the winner- the request is difficult to refuse indeed.
Apr 01
Sight-Singing: When Only a Fresh Start Will Do

Here is a guide to evaluating your own sight-singing strengths and weaknesses, and selecting the right sight-singing class for you
Apr 01
Recovering From the Career Bends

Question: I have the career “bends.” First I’m on top of the world, with feedback one minute that I’m the next Renée Fleming—and then I get feedback that tells me
Apr 01
Monday Night Diva

Those who know me know that, in addition to being an opera singer, I am also a slightly-less-than-rabid football fan. Having grown up outside Buffalo, NY I suspect that being a Bills' fan is written into my DNA, so it was probably only a matter of time before I began to think it would be "Way Cool" to sing the National Anthem at a home game.
Apr 01
Agents: A Revolution

Linda Mays, the president of AGMA, has been busy redefining the rules of how singers interact with their managers. This is important reading for all singers. Please read it, and pass it on to all the singers and managers, some accepted practiced out there are just plain illegal.
Apr 01
The Seattle Opera Young Artists Program

At a certain juncture in a young singer’s training, he or she is faced with that inevitable question: “What do I do next? ” Singers are faced with several attractive, albeit confusing options: Do I move to a major city and start auditioning? Pursue chorus work in an opera house? Find an agent? Get my Master’s? Focus on concertizing? For many singers, the perfect choice is a young artist program, which typically combines several of these elements.
Apr 01
Gregory Kunde : To Everything There is a Season

Tenor Gregory Kunde is one of the most celebrated American singers on the international stage today. He has performed in all the world’s major opera houses and his repertoire extends from the standard tenor roles such as Alfredo and Rodolfo, to Baroque masterpieces.
Apr 01
Ask Erda : Can I make a Living Singing in Churches? Should I Join AGMA?

Dear Erda, I’ve recently discovered, to my surprise, that rather than being nothing more than a time-wasting source of income, my church job actually brings me a lot of joy.
Apr 01
Why Sing : Part 2

During the weeks since last month’s article, “Why Singing?”, I’ve been thinking about how easy it is to “break eggs without making omelets.” The questions I asked in that article
Apr 01
Bulletin Board

A Two-Tenor Aida? When German baritone Josef Metternich sang Amonasro, he often warmed up by singing “Celeste Aida,” to the consternation of the tenor in the next dressing room. Sometimes
Apr 01
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