Metropolitan Opera mezzo Heidi Skok launched a new program in upstate New York in 2009. Read what singers and faculty who participated in the inaugural year have to say and find out what’s in store for 2010.
With so many summer program options available, how can you possibly know which one is best for you? Ann Baltz brings you a step-by-step evaluation and guide to help you determine which program will best suit your needs.
Last month Cindy told you how to make a good impression before you land the job. Now she shares how to keep it up once you’re on the job to ensure future contracts with the same company.
To be a poet is to speak for the group by giving voice to our collective emotions and stories—and, as singers, it is our job to interpret and express those stories. As we start the New Year and begin our song again, it might be a good time to look at this important relationship. Let’s hear what the singer’s next-of-kin, the poet, has to say about us.
Explore the best ways to manage the most vital aspect of your Internet presence: your music.
Singers query Dr. Jahn for advice on the possible reasons for hoarseness after swimming, whether or not chanting while meditating is hard on the voice, what to do about acid reflux, and more. If you have a question for the doctor, e-mail him at jahn@classicalsinger.com.
Read up on a new comprehensive guide about the ins and outs of musical theatre auditions, and find out how this book can readily apply to any audition, crossover or not.
Attending a summer program most often requires a serious financial investment. Find out a few ways to cut on costs whether studying in the States or traveling abroad.
Seconds, minutes, hours, days, weeks, and months all mark the passing of time. But nothing seems to broadcast the unceasing march of time more than the change of the calendar
Mezzo-soprano Dolora Zajick has had one of the most successful and long-running careers of any singer in recent decades. That success came after overcoming significant obstacles due to the size of her dramatic voice. Now, Zajick is determined to help the next generation of dramatic voices encounter fewer hurdles on the road to success than she did. Her ideas are revolutionary, including working on significant operatic repertoire with singers still in high school. But Zajick insists that when handled with care, these voices will thrive.
Tell us how we’re doing. We’d love to hear your response and reaction to the articles published each month, as well as your view on the classical singing community. Contact us via e-mail at editorial@classicalsinger.com or by mail at Classical Singer magazine, P.O. Box 1710, Draper, UT 84020.
A voice teacher and founder of a summer program for the last 14 years in Aub and Coesfeld, Germany, Neil Semer essays on the singer’s desire for control. Is control good or bad? Is it really necessary for the singer? And, if so, how do you achieve it?
