Sandra Piques Eddy

Transcription

Sandra Piques Eddy

May 2013 • Classical Singer Convention Program
The Singing Life
and Motherhood
Sandra
Piques Eddy
Sing a Song
of Boston
Doing It All:
Mothers and
Singers
U.S.A. $6.50 • Can $8.70
Boston
Music Schools
convention
Boston, May 23-26
Schedule and Details Inside
May 2013
cover story
24
Volume 26 Issue 5
The Singing Life, Motherhood, and a Trip to Carmen
School: An Interview with Sandra Piques Eddy
As classical singers convene in Boston this month for the 10th annual Classical
Singer Convention, Lisa Houston catches up with a Boston native who is now
gracing the stages of major opera houses, including the Metropolitan Opera. Mezzo
soprano Sandra Piques Eddy speaks about her relationships with the Met and
Boston and how they continue to influence her work as a singer. by Lisa Houston
features
34 Signing Your First Contract
38
Barbara Caprilli as the Witch in
Greensboro Opera’s Hansel and Gretel
Your first professional engagement with
an accompanying contract is a thrill!
But understanding and agreeing upon
the terms of said contract? Perhaps not
so thrilling. Avoid common pitfalls by
following the expert advice offered here.
by Kathleen Farrar Buccleugh
8The $50 Week: Moving without
Financially Shaking
If moving is in your future, consider
a few factors for making the whole
process financially smoother.
by Olivia Giovetti
38 Can You Do It All?
12 The Doctor Is In: Is a Vegan
As the U.S. celebrates motherhood
this month, women who are singers,
teachers, authors, administrators, wives,
mothers and more weigh in on this ageold question. by Michelle Latour
Diet for You?
Stephanie Scarcella and John Arnold
as Sister Helen Prejean and Joseph De
Rocher in Boston Opera Collaborative’s
production of Dead Man Walking, 2013
46
42 Education, Boston Style
Come for the convention, stay for grad
school! Take an in-depth look at the
voice programs at three Boston schools.
by Amanda White
Can you make a living as a classical
singer? There’s no one better to answer that loaded question than CS’s
own “Ask Erda.”
by Cindy Sadler
Is Beantown just a symphony and museum town? Venerable opera companies
and myriad ensembles say no!
by Amanda Keil
In Every Issue
4
6
92
104
Bulletin Board
From the Editor
Audition Listings
Competition Listings
20 The Entrepreneurial Career:
photo by J. Justin Bates
Springtime in Boston means bikes,
parks, and good times. Discover a whole
host of things to see and enjoy while visiting the city for this month’s Classical
Singer Convention. by Amanda Keil
Giving up meat, eggs, and dairy may
seem extreme. But the hard scientific evidence of the remarkable health
benefits, which Dr. Jahn shares here,
may make you reconsider.
by Dr. Anthony F. Jahn
14 Ask Erda: The Day Job Dilemma
46 Sing a Song of Boston
50 America’s Walking City
monthly columns
55-91
2013 Program
Money Matters for Music
Plan your finances now and enjoy
your performances later.
by Amanda Keil
22The Tech-Savvy Singer:
convention
Find all you need to know for this year’s
Convention in Boston, including hotel maps,
competition schedules, class descriptions,
and more.
Designing Your Résumé in
Microsoft Word
Don’t let a less-than-professional résumé hold you back from presenting
an otherwise polished and complete
audition package.
by Amanda White
www.classicalsinger.com 3
Bulletin Board
N e w s ,
T i d b i ts ,
M u s i n g s ,
a n d
m o r e
.
.
.
b y
George London Foundation
Announces Competition Winners
Nora London, center, with 2013 George London Award winners
On March 1, 2013, the George London Foundation awarded a total of $82,000
to young American and Canadian singers. Prizes of $10,000 went to tenors
Dominic Armstrong (33) and Noah Baetge (32), baritones Jamez McCorkle (23)
and Nicholas Pallesen (33), and sopranos Felicia Moore (24), Jessica Muirhead
(31), and Marcy Stonikas (33).
Of the 250 applicants, 90 of them performed live. Of those, 24 were selected
as finalists and seven as winners. Seven more received Encouragement Awards
of $1,000. They were tenor Adam Bonanni (24); baritones Steven LaBrie (24),
Jonathan Michie (28), and John Brancy (24); mezzo-sopranos Rihab Chaieb (26)
and Sharin Eskandani (29); and soprano Marina Costa-Jackson (25). For this
competition, there is no application fee and a pianist is provided for each of the
competition rounds.
www.georgelondon.org
Metropolitan Opera Will Lower
Ticket Prices
Since ticket sales are down this season,
the Met will reduce some of its prices,
the New York Times reports. The average
cost of admission will drop by 10 percent,
from $174 to $156, according to General
Manager Peter Gelb. Opera-going will still
be expensive, however. Orchestra aisle seats
that were $360 for the 2012-2013 season
will be $330 for the 2013-2014 season, and
grand tier box seats will be reduced from
$195 to $180. Actually, more than 2,000
seats for each performance will cost less,
but the truly cheap seats in the rear of the
family circle will cost $5 more.
4 Classical Singer / May 2013
Gelb intimated that the 10 percent rise
in prices for the 2012-2013 season had not
been as successful as expected. Attendance
for the 2012-2013 season is projected to
average around 81 percent of capacity,
compared to 84 percent during 2011-2012.
www.nytimes.com/2013/02/27/arts/
music/metropolitan-opera-to-reduce-ticketprices-next-season.html
Titles for Recital Can Be Sent to
Audience Cell Phones
A company called Globetitles can now
send titles to your audience’s cell phones in
a manner that will not disturb the ambience
m a r i a
n o c k i n
of your concert. The Globetitles program
is accessed through users’ Web browsers
and it mimics a familiar slideshow format.
The titles are a sequence of short text
excerpts, much like a traditional slideshow
is a sequence of photos taken on vacation.
To create the slides, you can use the
Globetitles program’s Slideshow Editor,
which runs on the Globetitles server, or a
text editor program of your choice. If you
use another program, you simply copy-andpaste the titles into the Slideshow Editor.
The titles controller cues the slides
with a mouse, touchpad, or keyboard,
and members of the audience view the
slides in their browsers. Alternatively, or
simultaneously, the slides can be displayed
on a large screen that can be seen by
the whole audience in the same way
that supertitles are traditionally shown.
Translations can also be available in more
than one language.
www.globetitles.com
‘Variety’ Stops Printing Daily Edition
Variety has been a fixture in Hollywood
since it was founded in 1905 but, like
other traditional print publications, it has
struggled in recent years as news moved to
other formats. The well-known theatrical
publication recently announced that it
will offer a print edition on Tuesdays
only and will drop the pay wall on its
online version, according to RYOT. Jay
Penske, the chairman and CEO of Variety’s
parent company, admits that the pay-toread online idea did not work. Publisher
Michelle Sobrino-Stearns says they remain
committed to a print edition of Variety and
expect the weekly edition to expand in size
and scope of coverage.
The weekly paper will be augmented
throughout the year by special editions
reporting on the industry’s many awards
shows and other topics of interest to
Hollywood movers and shakers.
www.ryot.org/famed-hollywood-tradepublication-variety-dropping-daily-printedition-paywall/87069#.UTjfI6X3Ab0
ADVERTISER INDEX
We have listed our advertisers in this issue by what they’ll do for you. While we cannot vouch for any advertiser’s product or service,
we do not run ads from vendors with unresolved complaints. Please e-mail and tell us about your experiences with our advertisers.
Competitions
Liederkranz Foundation......................................... 27
New Jersey Association of Verisimo Opera................ 23
Théâtre Lyrichorégra 20...................................... 105
Convention
Classical Singer Young Artist Series........................... 7
Education
The Achievement Program...........................................97
Bard College Conservatory of Music..............................71
Binghamton University/Tri-Cities Opera...........................40
The Boston Conservatory.............................................48
Bucknell University......................................................99
Carnegie Mellon School of Music..................................37
Chapman University.....................................................79
Chicago College of Performing Arts/
Roosevelt University................................................76
Cleveland Institute of Music..........................................88
Colorado State University.............................................67
Converse College........................................................29
Cornish College of the Arts...........................................90
DePauw University.......................................................74
Eastman School of Music............................................56
Hebrew Union College...............................................103
Interlochen Center for the Arts......................................59
The Juilliard School.....................................................58
Louisiana State University.............................................65
Mannes College The New School for Music...................85
New England Conservatory........................................108
New Jersey City University...........................................91
New York University.....................................................57
Northwestern University................................................91
Ohio State University....................................................59
Oklahoma City University..............................................83
Olivet Nazarene University............................................82
Palm Beach Atlantic University......................................17
Pepperdine University..................................................19
Rutgers......................................................................81
San Francisco Conservatory of Music............................70
Shorter University........................................................15
Stetson University........................................................11
Susquehanna University...............................................84
University of Alabama..................................................95
University of Hartford...................................................77
University of Houston...................................................88
University of Iowa........................................................49
University of Michigan................................................107
University of Minnesota................................................75
University of North Texas..............................................11
University of Notre Dame.............................................95
University of Utah........................................................88
University of Western Ontario........................................37
USC Thornton School of Music.....................................90
Vanderbilt University-Blair School of Music.....................13
Viterbo University........................................................27
Walnut Hill School for the Arts.......................................64
Westminster Choir College of Rider University.................10
62
Health
Hennessy Whole Body Voice........................................58
Masterclass/Workshop
Carnegie Hall....................................................... 33
Sight Singing with Liz Fleischer............................... 96
Musical Accessories
Sing & See.................................................. 21, 102
Organizations
Boston Singers’ Resource...................................... 45
Photography
Devon Cass Photography....................................... 87
Printed Music
Classical Vocal Reprints......................................... 99
Leyerle Publications............................................ 100
Packard Humanities Institute................................... 18
Yesterday Service Sheet Music............................... 73
Publications
Aria Ready!.......................................................... 53
Recordings
David Jones...............................................................51
Delos Productions, Inc..................................................51
Premiere Opera Inc.....................................................30
Summer Programs
Academie International D’ete de Nice............................30
AIMS.........................................................................84
Altamura Center for Arts and Cultures...................... 36
American Singers Opera Project...................................15
Art Song Preservation Society of New York....................92
Contemporary Commercial Music
Vocal Pedagogy Institute............................................41
Daniel Ferro Vocal Program..........................................21
Early Music Week at Pinewoods...................................29
Franco American Vocal Academy............................ 73
Girard, Valerie.............................................................86
Midsummer Music Dream Music School & Festival.........98
Molloy Summer Music Institute...................................106
Neil Semer Vocal Institute...........................................101
New York Opera Studio................................................41
Torggler Summer Vocal Institute......................................2
Vocal Studio
Opera America................................................... 105
Voice Teachers
Boozer, Brenda.................................................. 106
Byrne, Richard..................................................... 96
Carole Farley International Vocal Coaching................ 43
Craney, Trudy..................................................... 102
Davis, Osceola.................................................... 100
Gordon, Marjorie................................................ 100
Love, Shirley........................................................ 98
Vaness, Carol..................................................... 101
VoiceTeachers.com............................................. 100
Vol. 26 No. 5
Publisher
David Wood
Editor in Chief
Sara Thomas
General Manager
Alex Stoddard
Design and Layout
Horizon Design
Advertising Manager
Dane Trimble
Auditions Plus Manager
Kimberlee Talbot
Subscriptions Manager
Jenny Jenson Fawcett
Accounting
Marianne Johnston
Office Manager
Aubrey Werner
Final Copy Editor
Deb Tokarewich
Marketing Consultant
Mark Stoddard
For inquiries: [email protected]
Classical Singer magazine (ISSN: 1534-276X)
is published monthly by Classical Singer Corp,
12896 S. Pony Express Dr. Suite 500, Draper,
UT 84020. Periodicals postage paid at Draper,
UT and at additional mailing offices. Annual
subscription rate is US$58.00.
POSTMASTER: Send address change to
Classical Singer, P.O. Box 1710, Draper, UT
84020-1710. Office: (801) 254-1025, FAX
(801) 254-3139. The opinions expressed in the
manuscripts, editorials, and letters to the editor
are not necessarily the opinions of the publisher.
Missed Copies/Change of Address
Report missed copies of CS magazine to
801-254-1025 ext.15, Jenny Jenson Fawcett or
[email protected]. Missed
copies will be replaced only if notification is
received within 30 days after publication date
of copy missed. Failure to report change of
address at least 30 days prior to publication
date forfeits any claim to replacement.
Photocopying: Please do not photocopy any
part of this issue.
SUBSCRIPTION RATES
ONE YR.
United States: US$58
Canada:
US$78
International: US$88
TWO YRS.
US$96
US$136
US$154
On the cover: Sandra Piques Eddy
Photo by: Devon Cass
Websites
CS Auditions Plus................................................. 54
Singer Websites................................................... 94
From the Editor
A M o t h e r ’ s D ay P e r s p e c t i v e
Although Mother’s Day as we know it began just a century ago, the tradition
of honoring mothers transcends the last 100 years and the American culture. Ancient Romans
honored Cybele, the Mother Goddess, with a festival and special feast. And in Renaissance
England, the fourth Sunday during Lent was known as the “Mothering Sunday.”
But the holiday that Americans, florists, and card companies rejoice in arose from a Philadelphian
woman’s prayer in the early 1900s. It is believed that Anna Jarvis heard her mother pray for a day to
celebrate mothers not long before she died. Anna set out to make her mother’s wish come true.
Jarvis first celebrated the holiday in 1908 with a church meeting where participants honored their
mothers with carnations and handmade cards. But a national holiday was still years in the making.
Anna wrote hundreds of letters to politicians pleading her case. The turning point came when she
garnered the support of wealthy Philadelphian businessman John Wanamaker. She trademarked the
terms “Second Sunday of May” and “Mother’s Day” in 1912. Finally, in 1913 Congress adopted a
resolution that endorsed the observance, and the following year President Woodrow Wilson issued
the first annual proclamation.
As the U.S. celebrates Mother’s Day 100 years after Congress’ initial resolution, CS celebrates it,
too. Gracing this month’s cover is mezzo-soprano Sandra Piques Eddy (p. 24). A busy mother of
three-year-old Beatrice, Eddy says that parenthood has helped her to think on her feet—an ability
that has proven vital in her burgeoning international career.
Eddy also shares how another important relationship has shaped her career: her ties to her
hometown of Boston where she and her family still reside. Classical singers converge on the city this
month for the 10th annual Classical Singer Convention. In this issue you can read up on Boston’s
music scene (p. 46) and the city’s institutions of higher vocal learning (p. 42), as well as the best
sites to see while you’re in town (p. 50). You can also read more about this year’s convention in the
Convention Program within the magazine (pp. 55-91).
I know women who dread Mother’s Day—some are mothers, others are not. Some feel the
holiday adds more pressure to be the “perfect” mother, and to others the day is a reminder of what
they don’t have.
What is it in a woman’s DNA that leads to such thoughts? Is there something attached to the
X chromosome that makes us feel that we must do it all—perfectly—and that we are failures if
we don’t? In Michelle Latour’s article “Can You Do It All?” (p. 38), women discuss how they
counteract this pressure and maintain a healthier perspective.
Anna Jarvis persistently pursued a dream that she ultimately saw fulfilled. Her perseverance
impacts us all this month, whether our children are celebrating us or we are celebrating our
mothers—or both. May her story provide perspective for this holiday and more.
Sara Thomas, Editor
Spring Training is Here!
At the Young Artist Series’
Spring Training you will
learn what you need to
work on this summer so
you can be ready for the
fall audition season.
Young Artist Series Prepares You for Fall Auditions
Summer is nearly here and it will soon be time to prepare for fall auditions. Attend Spring Training at the next
Classical Singer Convention’s Young Artist Series and take two days to learn exactly what you need to work on
this summer to give a great audition this fall.
Saturday, May 25th
• Find out if graduate school is your next step.
• Get management advice from Ana De Archuleta of
ADA Artist Management & Representation.
• Learn how to choose the right YAP, prepare for
the audition, and learn what to do once you’ve been
accepted. Laurie Rogers, director of Young Artist
Programs for Opera Saratoga, will show you how.
Sunday, May 26th
The Audition Feedback Experience is Back!
In this mock audition, YAP & graduate degree
programs will watch your audition and then tell
you what you need to work on this summer!
AFE space is very limited and will be filled strictly
on a first-come, first-served basis.
Find schedules, bios, & class descriptions on our website.
Sign up for Spring Training today!
www.ClassicalSinger.com/yas
The $50 Week:
Moving without Financially Shaking
by Olivia Giovetti
If moving is in your future, consider a few factors for making the whole
process financially smoother.
A
s I write this installment of “The
$50 Week,” I’m awash in boxes,
bubble wrap, packing tape, and
roughly four years of our life that my
husband and I are currently trying to
reconfigure into a new space. When we
originally decided to move, staying in the
same zip code but finding a more livable
building, we had budgeted that the entire
thing from start to finish—including real
estate fees, security deposits, moving
itself, and new items for our new place—
would sit in the high four figures. As we
check our budget, we’re happily well
under that total, sitting at less than half of
it, in fact. Some of this came down to luck,
finding an apartment with no broker’s fee,
and one within our price range. However,
a lot of it was thanks to planning, open
discussions, and more planning.
Moving is, as many of you will probably
agree, the worst. It’s frequently listed
as one of the top 10, top five, and even
top three most stressful things a person
can experience in life. But it doesn’t
necessarily have to be. It’s still stressful, to
be sure—but just as sure is the fact that
there are ways of minimizing that burden.
And since May is one of the busiest
times for moves thanks to college students
and grads shopping for their first offcampus abode, I’m happy to pass on to
you some lessons we learned to make the
move efficient and as painless as possible.
Look Ahead
In New York, the rental market has
become a bit cooler than it was in 2012
and, according to a Forbes 2013 forecast,
the national trends are still favoring a
buyer’s market. Back when I last moved
in 2009, it was much easier to negotiate
with future landlords over asking prices—
but four years later there are still ways to
make a new home work to your financial
advantage.
The biggest concern over rent
shouldn’t be in your first year, however—
it should be in the year to come. Unless
you’re particularly sadistic and enjoy
moving on a regular basis (and, if so, I’m
happy for you to come over and pack
up my kitchen), you’ll probably want to
renew your lease after the first year if all
goes well. Unless you’re lucky enough
to land a rent-controlled apartment, the
fear that many face with landlords is
that they’ll invite you in with a low first
year’s rent and then gouge you in year
two. A good way of testing this notion
is to ask for a two-year lease up front. If
the landlord agrees or takes the time to
seriously consider your request, you can
feel safe that the rent increase will be fair,
if not downright modest. If they refuse,
you might want to keep looking.
And in a stroke of good luck, rentcontrolled apartments are not exclusively
in the domain of buildings built between
1947 and 1974 (or those pre-’47 holdovers
that aren’t outright rent controlled).
Many new or renovated buildings are
applying for rent stabilization to appeal to
prospective tenants.
While we’re on the topic of deals, not
every landlord may be willing to drop
the rent, but they may be willing to offer
a free month. Generally what this means
is that you pay the security deposit and
the first month, and the second month is
free, thus driving down the net value of
your home for one year. You’ll still pay
the asking price, but in the end it will add
up to less than its full annual price tag.
(For example, if you’re renting a unit for
$2,500 per month and the landlord gives
you a free month as incentive, you’ll end
up paying an average of roughly $2,300
per month for the first year, even though
your monthly check will still be for the full
price.)
Read before You Sign
It may seem very tempting to initial
and sign where the landlord points and
save your lease for reading when there
are no new magazines in your bathroom.
Even if the management company is
rushing you, take the time to read every
last word of your lease and its riders.
Most of it will be fairly standard and
unexciting—but specific policies, riders,
and sections might jump out as points
that require clarification or policies that
can either save or cost you in the end.
Will your landlord allow you to paint,
strip your floors, install extra cabinetry
or shelving, or set up a major appliance?
The adage of asking for forgiveness
rather than asking for permission
can cost you dearly when it comes to
landlords. Moreover, you’ll also know
what you’re responsible for if and when
you choose to move out. Some landlords
require that you repaint; others ask only
that you spackle and sand any holes
you’ve made.
The $50 Week: Moving without Financially Shaking
For singers especially, reading your
landlord’s policy on subletting and leasebreaking will be especially prudent points
if a Fest contract or summer program
comes through. Don’t be afraid to ask
questions. And if your landlord doesn’t
let you read the entire lease line for line
before you sign it, you may have bigger
problems in store. This is your chance
to take care of those problems before you
lock into them for at least a whole year.
Know Your Priorities
Most real estate brokers worth their
salt will begin the apartment- or househunting process by asking a very basic
question: “What are your musts?” Think
about the reasons why you want to move.
Are you looking to be in a new town or
neighborhood? Would you sacrifice
location for a larger space, or vice versa?
Are you willing to pay more for amenities
like a dishwasher, southern exposure, or
backyard?
For me and my husband, living in
a quiet building with a doorman was
our chief “must.” After years of living
together, we’ve come to realize that our
lifestyle is such that we would rather nest
and pay more for an apartment conducive
to staying in on weekends versus paying
that money to go out and avoid noisy
neighbors and minimal security. For that,
we were also willing to sacrifice some of the
square footage in which we were currently
living and pay a few hundred more each
month. However, that few hundred
was quickly negated when we found
a building with not only cement-filled
walls and a fantastic doorman, but also
in-unit laundry and an on-site gym. The
money we would save on our fluff-andfold service and our gym memberships
meant we could accommodate the
increase in rent. Moreover, the indoor
and outdoor common areas for tenants
made the downsizing more livable. (As
my mother said, it’s possible to spend a
year in our new building without leaving
the property.)
For New Yorkers—or the New York
aspiring—the website NakedApartments
.com is a great resource for this kind
of prioritization. You can pick your
neighborhoods, set price limits, and check
off a list of amenities, and they’ll pair you
up with apartments that meet your needs.
Think of it as a domestic Match.com.
The 40 Rule
Unless you are working with a
guarantor for your lease, landlords
will require that the total income of
all inhabitants of your apartment be a
standard 40 times the monthly rent. That
means if you’re looking at $1,600 per
month for a two bedroom, you and your
roommate would need to earn a combined
$64,000 per year. This is not only a good
guidepost for determining whether your
application for tenancy will be approved
(if, that is, you also boast great credit
and references), it’s also a useful number
to keep in mind when you’re trying to
define what an “affordable” place to live
is. If a $1,000-per-month studio seems
burdensome to pay for when you take
home $40,000 a year, it may not be that
you make too little—rather, it may be that
you need to re-examine your spending
habits and restructure.
Don’t Box Yourself In
Oftentimes the act of moving is in and
of itself more expensive than finding a
new home. And unless you’re moving
into a completely reconfigured place or to a
new city, state, or country, a good chunk of
that cost doesn’t come from new things,
it comes from packing your existing stuff.
Before you start to pack, go through
your major storage spaces—bookshelves,
media racks, closets, dressers—and
ruthlessly edit.
Have you not worn that sweater
since the Bush administration? Toss it.
Do you really need that paperback of
The DaVinci Code that was read once
and has since been following you from
apartment to apartment? Toss it. Can
you live with having an online ItalianEnglish dictionary or do you also have to
keep a print version? Perhaps that sort of
question requires more pondering, but
that’s why it’s best to start early.
Also think about which of your current
items can be repurposed. I have a fourcube EXPEDIT bookshelf from IKEA
that, in my old place, served as storage
for CDs and office supplies and my
printer. I don’t have that spatial luxury
in my new living room, but the fourcubby-hole unit fits perfectly into our
coat closet and serves as storage for our
“Oftentimes the act of moving is in
and of itself more expensive than
finding a new home . . . a good chunk
of that cost doesn’t come from new
things, it comes from packing your
existing stuff.”
The $50 Week: Moving without
Financially Shaking
fancy china (which previously had a life
in our old kitchen but has no such home
in our new pad). The less you have to
move, the better. But the less you have to
buy once you move, also the better. So
your task is finding the happy medium
between those two points that works for
your needs and lifestyle.
Talent. Passion. Community.
VOICE FACULTY
Christopher Arneson
Claudia Catania
Lindsey Christiansen
Margaret Cusack,Chair
Elem Eley
Rochelle Ellis
Faith Esham
Thomas Faracco
Zehava Gal
Katherine Johnson
Julia Kemp
Robin Massie
Sean McCarther
Mark Moliterno
Carolann Page
Kathy Kessler Price
Eric Rieger
Laura Brooks Rice
Guy Rothfuss
Elizabeth Sutton
Sharon Sweet
Nova Thomas
Charles Walker
Sally Wolf
Amy Zorn
No other school compares to Westminster Choir College’s
focused and collaborative approach to musical excellence.
Guided by a world-class faculty, our students work together
to prepare for the challenges of professional performance.
With each student success, our reputation soars.
GRADUATE
Master of Music in:
• Voice Pedagogy & Performance
• Piano Accompanying & Coaching
Master of Voice Pedagogy
UNDERGRADUATE
Visit our Web site for a complete program listing
To learn more, visit our Web site:
www.rider.edu/wcc
COACHING AND
OPERA FACULTY
Susan Ashbaker
Dalton Baldwin
William Hobbs
Rachelle Jonck
J.J. Penna
Debra Scurto-Davis
Kara-Lynn Vaeni
Princeton & Lawrenceville, NJ
Find the Right Tools
When we found our new apartment,
my husband and I realized something
as we looked around our current
apartment: we had very few packing
tools at hand. And boxes are expensive
(and the scarring fear of bedbugs has us
wary sourcing cardboard from our local
bodega). One option we considered was
Jugglebox, a NYC company that delivers
plastic bins and then picks them up again
when you’re done. It minimizes clutter
and waste, and at $99 to pack a studio or
$129 for a one-bedroom apartment, is a
pretty good deal.
Ultimately, however, we found a
better deal with Home Depot, which
sells boxes for roughly $1.50 a pop.
Considering we had fewer boxables
than the average one-bedroom, we paid
less than the Jugglebox option, though
we splurged on two wardrobe boxes
in the name of convenience and some
Container Store boxes designed to keep
dishes from breaking in transit.
Where we really saved, however, was
in the move itself. We considered hiring
movers to transport (and possibly pack)
our belongings, but after pricing those
options out and ending up between
$300 and $900 in the hole, we realized
that money could be saved with the cost
of a U-Haul. Considering we moved
all of five blocks away from our current
apartment, it was money well saved.
Olivia Giovetti has written and hosted
for WQXR and its sister station, Q2
Music. In addition to Classical Singer,
she has also contributed frequently to
Time Out New York, Gramophone,
Playbill, and more.
Auditions
February 8, 15 & 22, 2014
Stetson University, located in central Florida, dares its students to
go beyond success—to significance. Since 1883, Stetson’s vision has
remained constant, engaging students with rigorous academics and
instilling civic values for life. An independent university, Stetson offers
a comprehensive education in the Arts & Sciences, Business, Law
and Music. The School of Music is regarded as one of the nation’s
finest undergraduate-only professional schools of music, with a select
enrollment of just over 200 majors. Faculty and students collaborate in
countless significant ways within the framework of a distinctive range of
performance opportunities and courses.
Visit stetson.edu/music to learn more about the audition process and
listen to music from this exemplary program.
Questions? Call Camille Tolley at 800-688-0101 ext. 8975.
Schoolof
of Music
Music
School
JOINING THE UNIVERSITY OF NORTH TEXAS VOICE FACULTY
Carol Wilson, Soprano, principal soloist
with Deutsche Oper am Rhein from
1999-2009, has appeared with Semper
Oper Dresden, Frankfurt Opera,
Vancouver Opera, Royal Opera Stockholm, National Theater Taiwan, Prague
Spring Festival, Savonlinna Festival, and
Ruhr Triennale. She holds the DMA
from the Yale School of Music.
Voice Faculty
Stephen F. Austin
Richard Croft
Linda Di Fiore
Jennifer Lane
Stephen Morscheck
Elvia Puccinelli
Jeffrey Snider
Carol Wilson
Opera Faculty
Paula Homer,
Opera Director
Stephen Dubberly,
Opera Music Director
Choral Faculty
Jerry McCoy,
Director of Choral Studies
Joshua Habermann
Richard Sparks
www.music.unt.edu
Studies leading to the BM, MM, DMA, Artist Certificate
The Doctor Is In
Is a Vegan Diet for You?
By Dr. Anthony F. Jahn
Giving up meat, eggs, and dairy may seem extreme. But the hard scientific evidence of
the remarkable health benefits, which Dr. Jahn shares here, may make you reconsider.
H
ave you ever considered
changing your diet radically?
The most important step is
finding the conviction to do it. There
are many compelling reasons to look at
vegetarian and vegan diets, and in the
paragraphs below, you may find a reason
that speaks to you. One thing is for sure,
it can be the healthiest decision you ever
make.
My own interest began two years
ago, when a friend recommended that
I read The China Study by T. Colin
Campbell. Campbell, a retired professor
of nutrition at Cornell University, looked
at the diets of two large populations in
China, urban and rural. Genetically,
these people were identical; they
differed only in what they ate. The rural
population ate mostly vegetables, while
the city population ate like Westerners
do—a varied diet with meat, fish, and
fats. Findings: the rural population had
almost none of the commonest diseases
that we in the U.S. die of daily. No heart
disease, no strokes, no cancers, no
obesity, no diabetes, no autoimmune
disease, no dementia. Campbell is a
scientist, and the epidemiologic data
were irrefutable. The second half of
the book deals with the incredible
obstacles he dealt with in attempting to
implement his recommendations back
in the U.S., dealing with the meat and
dairy industry, and all those who profit
from perpetuating our unhealthy and
ultimately lethal diet.
I then read a book by Dr. Caldwell
Esselstyn, provocatively titled Prevent
and Reverse Heart Disease. Esselstyn, a
surgeon at the Cleveland Clinic, made the
dramatic discovery that a strict vegan diet
can not only prevent but actually reverse
advanced coronary disease. Many of his
first patients were true cardiac cripples
who, after two heart attacks and five
stents, were written off by their doctors
and basically sent home to die. Dr.
Esselstyn’s diet has not only kept them
alive but actually reversed their coronary
disease. A remarkable angiogram in the
book documents that atherosclerotic
plaques dissolve and coronary arteries
reopen after only a few months on a vegan
diet.
How can this be? Vascular insufficiency
and inflammation is at the root of most
of the fatal illnesses in the West. Dr.
Esselstyn claims that the endothelial
cells lining the arteries are not just a
passive covering layer, but an active
tissue that keeps the arteries open. They
fail to do so only when overwhelmed by
excessive fat and toxins in our diet. And,
he claims, fat is fat, whether its source is
plant or animal. Certainly animal fats are
worse, but even plant oils are potentially
harmful. So, although the much vaunted
Mediterranean diet, full of olive oil, is
certainly more healthful than a bucket of
chicken wings, it is not really healthful,
only less harmful. Unsaturated fat is less
harmful than saturated fat, but not as
good as no fat. It is for this reason that
the Esselstyn diet also avoids plant oils in
addition to all dairy and eggs. In this way,
his vegan diet is more restrictive than the
usual vegetarian diet. But, based on years
of clinical experience with thousands
of patients, Dr. Esselstyn is able to make
a unique claim: you can avoid—yes,
avoid—all of these diseases by eating a
diet that doesn’t contain fat or oils and is
low in inflammatory factors.
Without doubt, oil and fat are the
main culprits for heart disease. By
illustration, a population has been
studied in Papua New Guinea. These
tribes are heavy smokers, and everyone,
including the children, is chronically
exposed to second-hand smoke. Their
diet, however, is completely vegetarian,
consisting exclusively of a variety of yams.
The result? Lots of pulmonary disease,
to be sure, but no heart disease. If we
now consider all the toxins (hormones,
antibiotics, heavy metals) that are in
the tissues of animals, the mercury and
cadmium, the garbage dumped into the
oceans, substances that are not detoxified
but accumulated and concentrated up the
food chain . . . well, you get the picture.
As a physician, I found the scientific
evidence convincing. You are what you
eat, and all you really need to do is to not
sabotage your body in order to allow your
cells to do their daily chores of cleaning,
repairing, and maintaining.
Others may choose a vegetarian diet for
moral reasons. If this is more your style,
you will not need to delve too deeply
into the horrific details of how animals
are raised, how fish are farmed, and
The Doctor Is In: Is a Vegan Diet for You?
“And here is yet another reason: vegetarian/
vegan cooking is not only healthy for you, it is also
cheaper! Your grocery bills will plummet once
you start cooking using legumes, fresh fruit, and
vegetables instead of meat, fish, and dairy.”
how these living and sentient beings are
slaughtered to convince yourself that a
vegetarian/vegan diet is the right choice.
And here is yet another reason:
vegetarian/vegan cooking is not only
healthy for you, it is also cheaper! Your
grocery bills will plummet once you
start cooking using legumes, fresh fruit,
and vegetables instead of meat, fish, and
dairy. These foods cost less to grow (did
you know that salmon is a carnivore, and
it takes more protein to raise a salmon
than the fish ultimately gives as part of
your dinner?), is filling, and healthy.
Still not convinced? Then consider
this: on top of everything else, you may
even lose weight on this healthier diet.
How can this be? You will certainly
eat more carbs, but these are complex
carbs with a low glycemic index, which
are nourishing, not fattening. Consider
also that when you fill your stomach
with fatty foods such as meat, you are
taking in more calories per gram of food
than when you eat vegetables. With a
vegetarian or vegan diet, you will have
more energy, concentrate better, and
the sense of mindfulness—which now
includes your diet—will pervade your
other daily activities.
Without a doubt, this is an enormous
change in your daily life—one that,
at least initially, may require a daily
pep talk between your brain and
your stomach. After all, we usually
eat without thinking. Furthermore,
how, when, and what we eat is deeply
tied to our upbringing and to social,
cultural, and habitual behavior. As a
Hungarian, the thought of giving up
Wienerschnitzel filled me with deep
sadness and a sense of loss. But the
thought of living, fully living, to the end
with no heart disease, stroke, or cancer,
unimpaired and fully engaged with life—
well, the tradeoff makes sense. And it
might also make sense for you.
Anthony F. Jahn, M.D., noted author
and professor of clinical otolaryngology
at the Columbia University College of
Physicians and Surgeons, has offices in
New York and New Jersey. His book,
Care of the Professional Voice, is now in
its second printing and available on the
CS website.
Ask Erda
by Cindy Sadler
The Day Job Dilemma
Can you make a living as a classical singer? There’s no one
better to answer that loaded question than CS’s own “Ask Erda.”
Dear Erda: I have been an avid reader
of your column for the last few years.
That said, I have a career dilemma and
I thought I would seek your advice and
guidance. I’m sure it’s a situation that
you have heard before. Like many, I have
hefty student loan debt (around $90K)
from going to a private school. I was
very naive in financing my education and
picking a school.
After graduating, I performed in a
show for almost a year. Now, I’m having
trouble finding work and though it
pains me to say it, I feel like I may need
to find something else to do full time
until I can pay off the loans. Is there a
way I can perform and make a living at
it while receiving a steady income? Does
that exist? If not, what kind of jobs are
out there in the music or theatre field/
industry that I could do to make a decent
living and pay off my debt so that I can
eventually perform full time again? Jobs
that are in music for which I have a
passion? Jobs that I would be qualified
for with just a bachelor’s in music
performance?
I want to find a job that’s still in music
since I have a degree in music that’s not
even paid for yet. It just makes sense to
me. Any wisdom from you on the matter
would mean so much to me. Thank you.
—Desperate to Perform
Dear Desperate: The good news
is that you’re young and you already
have a year of performing under your
belt straight out of undergrad, which is
more than a lot of people can say! The
bad news is . . . well, you already know
the bad news. It’s highly unlikely that
you’re going to pay off $90,000 in loans
through performing, at least not in short
enough order for it to do you any good.
And in the meantime, that much debt
can cripple your efforts to get your career
off the ground.
You want a job that allows you to
pay off your loans while working in a
related field and still getting to do some
performing. You want a job that’s not
soul-sucking. A job like that is not going
to be ready-made. You may have to do
some poking around to find a situation
that’s right for you. You mentioned a job
for which you are qualified—well, what
are your qualifications? What can you do
besides sing?
It’s the eternal dilemma for
performers: how to support themselves
while they’re getting a career off
the ground—and sometimes, even
afterwards. Plenty of well known singers
have sidelines that help support their
performance careers, and even successful
singers go through dry spells.
Many young singers go into music
studies with stars in their eyes and not
much of a plan. They’re graduating with
a crippling amount of debt in student
loans, which very, very few can expect
to pay back from performing alone—
and that doesn’t even cover supporting
themselves and their families. To top it
off, beginning a performance career is
like starting a small business. You need
capital to provide for continuing voice
lessons, coachings, training programs,
audition fees and travel, competitions,
concert attire, scores, recordings, and
more.
You also need time to start a career in
performing. Getting that career going is
a full-time job in and of itself. You need
time to continue studying and training.
You need time to job hunt, network,
and rehearse when you do get a job.
You need flexibility with your schedule
to get out and audition, travel, rehearse,
and perform, often weeks or months at
a time. And of course, you need time to
just live—do your laundry, go to the post
office, sprawl in front of the TV, play
with your pet, and enjoy your loved ones.
And thus we come to the Day Job
Dilemma.
Jobs which provide steady, bigger
paychecks, benefits, and some degree
of stability tend to lack flexibility. Often,
you’re required to be at a specific place
during specific hours and days of the
week—the typical 9-to-5 job. That
doesn’t leave much time or energy for
voice lessons, role study, or rehearsal.
You might be able to swing it with an
understanding boss, but even so, you’ll
have to limit your performing to local
venues or use all your personal days,
vacation, and sick time for out-of-town
gigs or auditions.
More flexible jobs, like temp or
seasonal jobs, usually don’t provide a
steady paycheck and will probably not
pay as much. Freelance work, such as
consulting or sales, can be much more
profitable and flexible, but you’ll also
spend time and money getting that work.
You’ll essentially be running another
small business.
There are no easy answers, especially
in this economy. Permanent or longterm performing work that pays well and
offers security exists, but it’s hard to get.
These jobs are highly competitive, and
often it takes an investment of time and
money before you can land such a job.
They’re also less flexible, so if you’re
hoping to have an opera career on top
of the steady paycheck, you’re going to
need great negotiating skills and a boss
who really likes you.
The more likely scenario, if you’re
planning on a solo performing career,
is that you could get started in a more
permanent position and gradually work
your way up to supporting yourself
entirely on solo gigs. But this also takes
creativity. The truth is, the vast majority
of classical musicians wear a number of
hats and cobble together performing
careers that involve a variety of jobs.
With that in mind, this month and
next month we’ll look at some ideas.
Let’s start by discussing long-term,
living-wage performance gigs.
Big Broadway shows, either bus-andtrucks (tours) or those in residence in big
cities (New York, Las Vegas, Chicago,
etc.) pay well, offer benefits, and help
you get admitted to Equity (which can
also help you get into AGMA). You
won’t have much time off, but you do get
personal days, vacation, and sick days,
just like a 9-to-5 job. Some will even
let you take leaves of absence. Once the
show is up and running, you’ll have free
time during the day for other pursuits. If
you are careful with your living expenses,
especially if you’re on a bus-and-truck
and receiving a per diem, you can put
aside quite a lot of money.
I have friends who have been touring
with shows like The Phantom of the
Opera and Porgy and Bess for 20 years—
literally, their entire careers. Some of
them manage to do other performing on
the side, like my friend D.C. Anderson
(www.DCAnderson.net),
a
former
Met District Winner who performs
his cabaret act late nights once the
curtain comes down on “Phantom” and
sometimes takes leaves of absence to do
other shows. He also records his own
CDs, is a composer/lyricist/producer,
and a freelance photographer.
As a nice added benefit, once you’re
“in the family,” so to speak, it’s a lot
easier to continue getting hired for
another such show or another tour of
the same show. Big Broadway shows
typically perform eight times a week,
often with matinees on both Saturday
and Sunday. You’ll have one “dark day”
per week, usually Monday. If you’re
doing a tour, you’ll have days off in
AN INTENSE TWO WEEK PROGRAM WITH OUTSTANDING OPERA PROFESSIONALS
AMERICAN SINGERS’
OPERA PROJECTINC.
OF
NORTH CAROLINA
FOUNDED BY NANCY STOKES-MILNES
Perfecting Performance
T
he School of Fine and Performing Arts
at Shorter University brings students’
talents center stage, allowing them to
shine through countless performance
opportunities. They learn from our stellar
faculty who provide personal attention in
a conservatory-style setting.
Undergraduate
Degree Programs in:
• Performance
(Piano & Voice)
• Piano Pedagogy
• Music Education
• Church Music
• Instrumental Music
• Musical Theatre
•Visual Arts
www.shorter.edu
315 Shorter Avenue
Rome, Georgia
800-868-6980
Mozart’s Don Giovanni
In ItalianWith Chamber OrchestraJune 2-16, 2013
Wake Forest University, Winston Salem, NC
BARBARA DEMAIO CAPRILLI
ARTISTIC DIRECTOR
RICHARD HEARD
EXECUTIVE DIRECTOR
NEW THIS YEAR!
High School Singers Intro To Opera
June 8 to June 16
Only 10 students will be chosen for this program, which will
include opera scenes and singing in the chorus of the opera.
WWW.ASOP-INC.ORG
Ask Erda: The Day Job Dilemma
between locations during which you
may be able to fly home or take another
short gig. The downside is that you’re
tied to the same show, which you may do
hundreds of times per year, and you will
most likely be working on all holidays
and weekends. Although you do get
vacation, personal days, and sick days,
a “day” equals one show, so if you’re
out over a weekend with two matinees,
you’ve used up four days.
One downside to the bus-and-truck
circuit is that you may find yourself,
essentially, homeless. It doesn’t make
sense to pay rent or have a lot of stuff
when you’re traveling all the time, and
many people who choose this nomadic
lifestyle rent a storage unit or a room
in someone else’s apartment to leave
a few belongings, rather than keep up
a residence of their own. It can also
be extremely difficult to maintain a
relationship outside of your show.
An “A” house opera chorus—such
as the Met Chorus, Lyric Opera of
Chicago Chorus, or San Francisco Opera
Chorus—pays well, requires AGMA
membership, and offers benefits, steady
work, and a surprising amount of job
security (thanks to the union). You are
working with the biggest stars in the
opera world, in beautiful productions
with the highest-quality values. You’re
in one spot, with variety from season to
season and enough free time to maintain
a voice studio or church job. You
may even be able to do some outside
performing off-season.
Positions
are
limited,
highly
competitive, and quite difficult to get,
however. San Francisco has about
50 full-time choristers and about 40
supplemental choristers. The Lyric
Opera of Chicago Chorus has 48 fulltime members, 12 “core supplemental”
choristers, and about 50 additional
supplemental choristers. The Met
fields a full-time chorus of 80 with a
supplemental chorus of 70 voices.
Supplemental choristers are hired
for particular shows which have larger
chorus requirements and usually have
rights of first refusal on future stagings
of the same production. It’s possible,
at least with the Met, to be a regularly
called supplemental chorister and to
work your way into the regular chorus on
the rare occasions when positions open
up (usually someone has to die or retire
for new positions to come available).
Anywhere from 400 to 600 singers
audition for these spots annually.
The Met Chorus website describes
some of the qualities that make you a
sought-after chorister: “Good qualities in
a chorus singer are reliability, punctuality,
vocal talent, linguistic ability, and a good
memory.” Check company websites for
information about their choruses and
auditions. Here are a few to get you
started:
metoperachorus.com
www.metoperafamily.org/metopera/
auditions/chorus.aspx
www.lyricopera.org/about/auditions.
aspx
sfopera.com/about/people/chorus.aspx
The Armed Services have several
highly regarded professional choruses
such as the Air Force Singing Sergeants,
the U.S. Army Chorus, and the Navy
Sea Chanters Chorus. As full members
of the military, you’re eligible for fulltime benefits (including the GI Bill,
which you can use to pay for continuing
education and job training) and pay.
You’ll perform for foreign dignitaries,
televised events, national baseball games,
and troops all over the world—maybe
even at the White House!
And you’ll be in good company.
Metropolitan Opera tenor George
Shirley was the first African American
member of the Army Chorus. Steve
Cramer, one of the current tenor
vocalists, toured in the ensemble of
a national tour of Les Misérables and
covered Jean Valjean. And other current
members include graduates of the
nation’s top conservatories.
These are very competitive positions,
however, and singers who win them
must attend boot camp and become full
members of the military. There is an age
limit of 34, and some choruses (such as
the Army Chorus) are all male. You must
be physically fit. You could technically
be posted in war zones and given
nonsinging assignments.
www.navyband.navy.mil/sea_chanters.
shtml
www.eur.army.mil/band/recruit/
default.htm
www.usarmyband.com/jobs/vacancies.
html
Cirque du Soleil auditions frequently
and probably offers salaries similar to
Broadway. Benefits include a medical
plan with dental, a variety of health and
wellness services, insurance, travel at
the beginning and end of a contract,
a free trip home once a year, lodging
for tours, and more. Currently there
are nine international tours and eight
residential shows in the U.S., as well as
one each in Japan and Macau. As a cast
member, you’d get to travel and be part
of a truly unique, high-tech show, filled
with international artists from a variety
of disciplines. But it is a show, with a
strictly regulated and busy schedule—
which may make it difficult to have
relationships outside the infrastructure
or to maintain a home base, just like with
Broadway tours. Cirque du Soleil does
hire classical singers, but they need to be
proficient in a variety of musical styles
and comfortable improvising. You can
apply online here:
en.ext.casting.cirquedusoleil.com/
ts2mmx__JobDetails?jobId=a0xA00000
012d2VIAQ&tSource=
Cruise ships offer free room and
board and a steady salary for attractive
singers versatile enough to sing classical,
Broadway, and pop creditably (staffing
site salary quotes vary—one stated
$1,600 to $2,900 monthly for singers).
If you’re careful, you can get away with
few if any on-board expenses. You’re
responsible for “extras” such as Internet,
phone cards, alcohol, and store snacks
(most of which are discounted for
crew members) and any sightseeing,
souvenirs, and other expenses you might
incur at ports of call. Laundry, hotel
accommodations, and airfare are usually,
but not always, paid for. There may be a
crew gym, pool, and lounge. You get free
travel to a variety of exciting international
destinations and you’ll be working with
colleagues of all different nationalities
and have the opportunity to form lifelong
friendships with people you might
otherwise never have met. And there are
discounts and visitors’ privileges for your
family and friends.
Of course, there are also potential
cons. If you get seasick easily, this isn’t
the work for you—you’ll be sailing in
all types of weather! You’ll need to be
available to ship out for as long as four to
eight months, sometimes on short notice,
and you’re basically “on call” whenever
you are on the ship. Your time on
shore is of course subject to your work
schedule. There may be four to eight
weeks of unpaid “vacations” between
cruise assignments.
You may or may not share a room,
depending on your contract, and it will
not be a large, luxurious guest suite.
More likely, it will be a small, perhaps
windowless cabin with up to three other
roommates. Your roommates may or may
not speak your language or share the
same work schedule. Crew food quality
may vary and will probably not be the
same as what the guests are getting.
You’ll be away from your family
for long periods of time, and onboard phone calls are quite expensive.
Furthermore, there are strict rules
and regulations—some workers have
described them as “almost military.” You
must be prepared to follow these if you
want to have a good experience and be
hired for future contracts—or even stay
on the ship. Some broken rules result in
immediate dismissal, meaning you find
yourself put ashore wherever you happen
to be.
For more resources on cruise ship
entertaining, visit these websites:
www.proship.com
www.peggystill.com/Articles/Gettinga-Job-as-a-Cruise-Ship-Singer-orPerformer
www.cast-a-way.com
www.cruiseplacement.com
Theme parks such as Disney World,
Six Flags, and Universal Studios also
hire performers for a number of different
positions. Disney hires not only for
its theme parks but also cruises and
specialty touring shows. It also offers
weekly pay and benefits such as health
insurance, sick leave, vacation pay,
and retirement plans for full-time and
some part-time positions. And there
are a variety of additional benefits such
as discounts, a credit union, wellness
programs, and on-site childcare at
selected locations. Disney has parks in
Anaheim, Calif.; Orlando, Fla.; Paris;
Shanghai; Tokyo; and Hong Kong.
Six Flags offers competitive pay,
rewards and recognition programs,
flexible scheduling, bonuses, part-time
schedules, and free unlimited admission
for employees and one friend. They have
locations in or near San Francisco, Los
Angeles, Atlanta, Chicago, St. Louis,
Baltimore/Washington D.C., Springfield
(Mass.), Jackson Township (N.J.), Lake
George (N.Y.), San Antonio, and Dallas/
Fort Worth—as well as Mexico City and
La Ronde, Montréal.
Universal Studios, with locations in
Orlando and Hollywood, Calif., offers
a variety of benefits including medical
coverage, paid time off, 401(k), childcare
assistance, tuition, and free admission.
Most of these jobs can be applied
for online, though you’ll still need to
audition. There’s little salary information
available via company websites, but sites
like Salary.com cite an average theme
park entertainer annual income as
$31,266.
Online surveys and reviews show a
high level of employee satisfaction for
companies like Disney; however, the
respondents were not all performers.
Most people seem to enjoy the working
atmosphere and the perks, such as
free admission. You probably won’t
be finding much of an outlet for your
classical chops, however, and if you want
to be in a revue or show, you’ll probably
need to dance as well as sing and act.
And, like all other steady performing
jobs, the positions are competitive. You
may have to start out as a substitute and
work your way into a full-time position.
Also, there are often many rules and
regulations for working at a theme park.
For more information about applying for
theme park jobs, visit these sites:
sixflagsjobs.com/benefits-perks.
html#actors
www.universalorlandojobs.com/
universe-opportunities/entertainment
disneyauditions.com
Be sure to tune in next month for
a look at other job opportunities for
performers that don’t require a long-term
contract.
Cindy Sadler is a professional singer,
teacher, writer, director, and consultant.
She is the founder and director of
Spotlight on Opera, a community
opera troupe and training program in
Austin, Tex. Upcoming engagements
include Marie in The Most Happy
Fella with Tulsa Opera, Martha
in Faust with Austin Lyric Opera,
Gertrude in Roméo et Juliette with
Intermountain Opera Bozeman, and
Ruth in The Pirates of Penzance with
Portland Opera. For more information,
please visit www.CindySadler.com and
www.SpotlightOnOpera.com.
T H E PAC K A R D H U M A N I T I E S I N S T I T U T E
C AR L PH I L I PP E M A N UE L BAC H
he omplete orks
RECENTLY PUBLISHED VOLUMES
Gellert Songs
Cramer and Sturm Songs
Edited by Darrell M. Berg
Edited by Anja Morgenstern
 ---- (xxv,  pp.)
.*
 ---- (xxxvi,  pp.)
Please see website for a complete list of available and forthcoming volumes.
All are cloth-bound and contain introductions and critical commentaries.
Phone orders: () -
Web orders: www.cpebach.org
* These prices are for direct sales only
.*
The
Entrepreneurial
Career
Money Matters for Music
By Amanda Keil
Plan your finances now and enjoy your performances later.
T
here’s nothing like taxes to
make you aware of how your
cash flows. When you filed your
taxes for 2012, you likely noticed your
cash flowing in one direction: out. As a
singer, it’s easy to feel like you’re at the
bottom of the economic food chain. We
keep everyone in business: from opera
companies (thank you, application fees!)
to dry cleaners (all those gowns). So if
you want to start your own performance
project, how on earth are you supposed
to pay for it all? Very simply: don’t pay.
Or, don’t pay with money—certainly not
your own.
Among the things that singers are
accustomed to paying for, such as voice
lessons or application fees, there’s no
room for negotiation. Not so with selfproduced projects. There are certain
things you do have to spend money on,
but many others—such as renting a hall,
designing a website, or even attracting
top talent—can be negotiated or bartered.
Being a singer means being a
collaborative artist; there’s not much
music you can make all by your
lonesome. Even if you want to strike out
on your own—a solo recital series, say—
you will quickly discover just how many
people you will need to help you. Now is
the time to speak with your colleagues,
fellow entrepreneurs, and friends to see
how you can collaborate. You might find
a partner to work with on ideas together,
or you might hire people to support your
vision. In any case, start talking to people
you know.
Maybe
you’ve
worked
with
someone who knows the manager of a
performance venue who can give you an
insider’s rate. If you admire someone’s
website, ask them for their designer’s
name, then ask if they have special rates
for start-ups. If you need to rent an
instrument, such as a harpsichord, see
if anyone in your extended circle has
instruments to lend—and if they can
“ . . . once you’ve
agreed on someone’s
fee, pay it no matter
what. Even if you
ultimately don’t get
along, even if you feel
you overpaid them,
even if you take a loss
at the box office.”
help you move it. Sometimes people
who make or repair instruments will offer
one for free if you promote their services
at your event. No matter what you
need, now is the time to be bold about
leveraging support in all forms. You will
have plenty of nonnegotiable expenses,
so save money wherever you can.
As for hiring artists, this might seem
like a catch-22. You can’t attract good
people without money, and you can’t
attract money (in the form of donors and
ticket buyers) without good people. But
you would be surprised. As long as your
artists feel respected, their time is well
used, and they get something out of the
bargain, talented folks will be willing to
work with you. For example, if you can’t
provide a big paycheck, offer your fellow
performers a chance to play a piece of
their choosing on the program. If you
feel your project will attract attention
from the press, the possibility of a review
can make up for a smaller fee. I also find
that talented directors, designers, and
lighting professionals are eager to add an
opera credit to their résumé. In general,
people tend to understand that startup operations are not going to be flush
with cash and, just like you, they want to
perform.
In any case, once you’ve agreed on
someone’s fee, pay it no matter what.
Even if you ultimately don’t get along,
even if you feel you overpaid them, even
if you take a loss at the box office. The
last thing you want is to earn a reputation
as someone who pulls a bait-and-switch
on their artists. It’s very professional
and puts everyone at ease if you create a
contract with anyone you hire, indicating
the fee you’re offering and what you
expect in return. Never written a contract
before? Just one more thing to ask your
circle about—surely someone can lend
you an example or look over your draft.
So how do you do this without
bankrupting yourself ? Three magic
The Entrepreneurial Career: Money Matters for Music
words: set a budget. Start with your fixed costs (printing,
space rental, etc.), determine your artist fees, then
think about ways to bring that money in. The larger the
production, the larger your audience will be: there are
more friends and family to come out, and bigger shows
tend to draw more notice. But don’t rely on ticket sales to
pay for everything. A conservative estimate is to count on
earning back about one third of your expenses, but ideally,
have enough money in the bank to cover the entire project.
Donations from close friends and family, a benefit concert,
advertisements in the program, and multiple performances
are all excellent sources for start-up funds. Credit card debt
is not.
After you’ve identified where your money will come from,
find a way to keep track of it. Unless your project is a onetime thing, you should open a separate checking account
strictly for related expenses. Most banks are eager to support
small businesses and will have a staff person who can help
you decide what kind of account you’ll need. When you
would like to set up an enterprise using a name other than
your own, you need to register your “Doing Business As”
(DBA) name with the local county clerk or state government.
You will then be a Sole Proprietor business. When I went to
open a separate bank account for my Baroque company, my
banker walked me to the local town hall to register my DBA,
a one-page application.
Unless you’re anticipating an enormous operating budget,
a single checking account should suffice. Your banker might
try to convince you to open a savings account or other
products, but don’t do this unless you later find that you
need to; the more accounts you have, the more likely you
are to incur fees. Your project-related income and expenses
should be tracked separately from your finances concerning
the rest of your singing career, but will come under the same
categories for your taxes. Now’s the time to find a good
accountant, too.
It might feel very dreary to embark on an exciting artistic
venture and then be bogged down with financial planning.
But a few systems in place up front will save you major
headaches down the road. And besides, as a singer, you’ve
written a few checks in your time. You can do money.
Amanda Keil freelances as a fundraiser; writes for
Classical Singer, OPERA America, Bachtrack, and her
blog, thousandfoldecho.com; and performs with her Baroque
company, Musica Nuova.
Intensive study of
vocal technique as
applied to the literature
for active singers
Greve in Chianti, Italy
Under the patronage of the Comune di Greve in Chianti
July 17 - August 7, 2013
Celebrating our Nineteenth Year in Tuscany
Master Classes • Private Voice Lessons
Coachings • Public Performances
Italian Language Study
Distinguished international faculty headed by:
DANIEL FERRO
The Juilliard School
Auditors, voice teachers, coaches
and conductors welcome
An Ideal Professional Retreat in Enchanting Tuscany
575 Madison Avenue • Suite 1006 • New York, NY 10022
Tel: 212-605-0594 • Fax: 212-724-6435
E-mail: [email protected] • www.ferrovocalprogram.org
Designing Your Résumé in Microsoft Word
By Amanda White
Don’t let a less-than-professional résumé hold you back from presenting an otherwise
polished and complete audition package.
W
e’ve all used Word, but the ins
and outs of styles and visual
design are often overlooked
by those of us who work with our voices
more than our computers.
If you were a music major, or have
been to Classical Singer conventions and
events, you’ve probably been coached in
how to write your résumé—what goes on
it, what stays off it, order, names, dates.
Hopefully, you have the content down by
now. But what about presentation? How
do you take the metadata of your career
and turn it into an attractive package, not
just a jumble of off-centered lists? You
don’t need a graphic designer’s training
to use some basic features of Word to
polish your paper-based presentation.
Fonts
Choosing a font can be overwhelming.
Your copy of Word probably has
over 100 built in, plus you can always
download more. Flipping through all the
options in the typeface drop-down menu
can be time consuming, and many of the
options just won’t suit your purposes.
(Step away from the Comic Sans.)
To narrow things down, it might help
to consider whether you want a serif
font or a sans serif font. Serifs are the
little “feet” at the ends of the strokes.
Typefaces with serifs are often viewed
as traditional, while sans serifs are
considered more modern. But that’s not
the only factor to consider. Common
wisdom says that serif fonts are better
for reading in print, whereas sans serifs
are better for on-screen reading. Do
you think your audience will print your
résumé out, look at it on their computers,
or both? Another standard piece of
advice is to use sans serifs for headings
and serifs for body text, but résumés
don’t really have a lot of “body text” in
the traditional sense—more lists and
tables than paragraphs.
Further, a study I completed in grad
school suggested that sans serif fonts are
much better for “busy” documents—
that is, if you’re trying to cram a lot of
information into a page, serifs add clutter.
So if you find yourself struggling to fit a
lot of career onto a single page, sans serif
is probably the way to go.
Popular serif fonts are Times New
Roman and Georgia, and popular sans
serifs are Calibri and Arial. If you want
to spend a lot of time experimenting with
every option in Word, go ahead. If you
want to just pick something and move on,
try one of those.
Photo
Should you include a thumbnail of
your headshot on your résumé or not?
It’s not the norm in the U.S., but if you’re
attractive, look like the characters you’re
trying to portray, and have a great photo,
why not? Just keep in mind the following:
• Microsoft Word is not an image
editing program. It has some capabilities,
but to avoid driving yourself crazy, edit an
image to the right size and color scheme
(black and white or color) in another
program, save it, and import it into Word
as you want it.
• Résumé paper is not photo paper.
If you’re printing your résumé onto nice
résumé stock, a photo may appear grainy.
If the quality of the photo is too poor, you
may want to nix it all together.
• If you’re sending your résumé
digitally and expecting the recipients to
print it, keep in mind that their printer
might not be the best. You might come
out with stripes across your face, or
unexpectedly in black and white. In this
case, again, it might be best to leave the
photo off.
You can use the Insert menu to browse
for and select your photo file. Placement
may take some trial and error: as with
HTML, images in Word are placed
“inline,” which means that they are
treated like another word in a paragraph,
so it might end up in the middle of a
word or sentence.
Themes
Don’t have a graphic design degree?
Not a problem! Microsoft has done the
work for you in their themes.
The Tech-Savvy Singer: Designing Your
Résumé in Microsoft Word
Depending on your version of Word, you can access the
themes from the Page Layout or Home menu. (You can create
similar effects by using the Change Styles/Quick Styles feature
on the Home tab under Styles.) The themes contain colors and
fonts preselected to compliment each other—all you have to
do is assign “styles” to the different elements of the page (see
below). Some versions of Word may allow you to change color
schemes independently of the theme.
One thing to keep in mind, though: modern Word themes are
designed to be looked at on a computer monitor or to be printed
professionally. So if a person you send your résumé to is going
to print it on a black-and-white printer, light colors might be
difficult to read when rendered in b&w. It’s a good idea not to
go too light in color choice anyway, since even too-light colors
printed on a color printer can be hard if not impossible to read.
Styles
How do you distinguish your headings and titles? Do you
center them, enlarge the font, or embolden? You don’t actually
have to do any of that. All you have to do is select a style.
The Home menu contains a Styles section where you can
assign a “function” to any section of your document. Simply
highlight the words you want to style and select a style from
the drop-down Styles list (or open the Styles pane for more
options). Most of what you will use are the headings—levels 1-6,
with 1 being the biggest and 6 being the smallest. You might also
use the Title style for your name and Fach, and the Subtitle or
one of the many Emphasis options for your address and phone
number.
Why use styles instead of changing the look of your headings
manually? Besides corresponding with the built-in themes, styles
are helpful because if you change your mind about the look,
you can update everything at once. For example, if you decide
you want your level 2 heading to be smaller, you can find it in
the Styles pane and edit it by selecting Modify Style. That will
change every heading 2 in the document. You can also select a
different theme, which will change every styled element in the
document to match the new theme, all with a single click.
Tables
Are you tired of pressing the Tab key over and over again to
make your columns line up? It’s a pain, because if one entry
runs too long, you either have to re-tab everything to the new
location, or manually insert a line break. Not a scalable model.
What you really want is a table. Tables in Word are highly
customizable, and you can erase the borders so that no one will
even know it’s a table.
Insert a table from the Insert or Table menus and take a guess
at how many rows you’ll need—you can always add more later.
Then you can check off options for a header row (the top row,
where you’ll put something like “Role,” “Opera,” “Company,”
and “Year”) and to differentiate the first column (if you want to
highlight the contents of the first column, for instance, have all
the roles in bold or in color). This works similarly to styling. You
can change these selections later as you play around with the
Table Styles.
Once you have your table in place (you can choose to fill it
out first, or not), you may want to erase the borders so the table
looks less cluttered. From the Borders menu, select None (or any
other option you prefer). You can also style the table from the
Table Styles menu. There are many options for table styles: you
can select from any color in the theme, first column and header
row in a different color or border style, or whether every other
row or column is shaded. Just keep in mind that with tables, less
is more. Put in only enough to make it readable. Excess lines and
colors just look overcrowded.
When you walk into your next audition with your hair done,
your dress pressed, your shoes polished, and your lips as
glossy as your headshot, don’t let your résumé be the weak link.
Directors may spend more time looking at your résumé than at
your performance, so make it look as good as you do!
Amanda White is a soprano and writer in the
Boston area. She can be reached through her website at
www.notjustanotherprettyvoice.com.
25th International
Annual Vocal Competition
November 2013/January 2014
Compete for cash awards!
Receive personalized coaching
and valuable critique!
Advance your career!
$85 registration fee deadline--Nov. 1st, 2013
Before April 1st, 2013--$42.50
Before June 1st, 2013--$55.00
Before Sept. 1st, 2013--$75.00
Each applicant must submit via email or USPS a complete application available on
www.njavo.org, payment, bio, photo and audio clip in mp3 format.
Application fee is not refundable.
The Singing Life, Motherhood,
and a Trip to Carmen School
An Interview with Sandra Piques Eddy
By Lisa Houston
Sandra Piques Eddy as the title role in Lyric Opera
of Kansas City’s production of Carmen, 2010
As classical singers convene
in Boston this month for the
10th annual Classical Singer
Convention, Lisa Houston
catches up with a Boston native
who is now gracing the stages of
major opera houses, including
the Metropolitan Opera. Mezzo
soprano Sandra Piques Eddy
speaks about her relationships
with the Met and Boston and how
they continue to influence her
work as a singer.
A
photo by Karen Almond
day in the life of mezzo soprano
Sandra Piques Eddy might find
her singing Rosina for Lyric
Opera of Kansas City, or the title role
in La tragédie de Carmen with Chicago
Opera Theater, or La Cenerentola with
Austin Lyric Opera—not to mention
any number of supporting roles at the
Metropolitan Opera, her artistic home
for over 10 years. She is currently in
rehearsal for Così fan tutte with Boston
Lyric Opera, with (Sir) Thomas Allen as
both stage director and Don Alfonso. His
direction on the recitatives, Eddy says, is
just amazing. “Like an acting class with
music.”
On the day of our interview, I found
her at her home making the most of her
time between rehearsals, preparing for a
day of hot cocoa with her three-and-ahalf-year-old daughter, Beatrice, who was
home from preschool due to a snow day.
Eddy is a Boston native, but she is keen
to point out that her parents are both
from São Miguel, Portugal, in the Azores
Islands. We begin our interview there.
What influence did your heritage have
on your early musical life?
Growing up I was always listening to
Fado. It’s heartbreaking and extremely
traditional music. Maybe that was
part of what made me fall in love with
opera later on, because there is such an
Sandra Piques Eddy
Eddy (left) and Camille Zamora as Idamante and Ilia in
Boston Lyric Opera’s production of Idomeneo, 2010
immediate response when you hear
this music. It can be very playful, but a
majority of Fado is very mournful and
passionate and some of it is a little bit
dramatic. Growing up Portuguese,
I went to all the Portuguese feasts in
Cambridge and dressed up as an angel
in May and June—these processions
for the saints and the angels—so it’s
been such a part of my growing up and
part of my background. I’m very proud
of who I am.
photo by Charles Erickson for Boston Lyric Opera
Not that she’s Portuguese, but I can’t
help but think that might come in
handy playing Carmen.
Because I’m Portuguese, I could
possibly pass for Spanish, and
because I have some color in my
voice, people have been asking me
about Carmen since I started singing
professionally. But I kept putting it off.
I knew I was going to sing it some day
in the right circumstance and I had
really smart people surrounding me
saying just wait. I was just one of those
people who said, “I want to do it in
the smartest possible way.”
What ended up happening was
[that] I was at BU [Boston University]
for my master’s degree and they were
doing Tragedy of Carmen and they
already had it double cast. But they
asked me to learn it, and I was one
of the stage managers for the show,
so I watched the two Carmens and I
watched how everybody got ready for
their roles backstage.
Another part of my Carmen
development came from singing
Mércèdes a million times. I’ve covered
it. I’ve sung it at the Met. I was in
the Zeffirelli Carmen which was run
prior to the Sir Richard Eyre Carmen
that’s being run right now. I was the
Mércèdes in the Richard Eyre in
2010. I was really lucky because being
Mércèdes I got to watch the first cast
Carmen, the second cast Carmen,
[and] the understudies. I got to see
them rehearse, I got to see them in
the performance, I got to see many
Sandra Piques Eddy
“I was a music ed undergrad major at Boston Conservatory. I was
a teacher for three years in the Needham public schools. I feel like
teaching and parenthood have taught me to really think on my feet.
I have to have a plan B, C, D.”
different renditions of Carmen—and
for me that was invaluable to be on the
sidelines and watching it all the time.
It sounds like you went to Carmen
school.
I did! And after that, Chicago Opera
Theater called me up and asked me to
do Carmen in the Tragedy of Carmen,
which was another step in the water,
so I took on that role. The Tragedy of
Carmen, Peter Brook’s Carmen, is all
the music of Bizet but it’s scaled down.
It’s about 90 minutes of music—all
of her music, all of José’s music, all of
the Toreador’s music, all of Micaëla’s
music. The main focus is those four
characters. So I had a chance to learn
the majority, maybe 80 percent of
Carmen’s music—all the solo music
without ensemble.
That was fantastic because it was a
substantial rehearsal period. I got to
really delve into the character. It was
a smaller orchestra, so the pressure of
having to sing over a huge orchestra was
lifted. Then a concert version came, and
then the first completely staged version
came with Lyric Opera of Kansas City
with Bernard Uzan as the director. He’s
a fabulous director, a French director,
and I thought, “For me, what better
way to get to know Carmen?” Ward
Holmquist was conducting and he’s
the one who wanted me for the part.
I was really touched that somebody
said, “Yes, I think she’s ready.” That’s a
wonderful experience, and one that I’m
always going to hold onto in my heart.
You said something about your being
one of those people who decided
early on that you were going to do
it the right way, the smart way. Your
professional debut was with Boston
Baroque, and I wonder if the richness
of the Early Music scene in Boston
played a part in not only making you


2014 Annual Awards Competitions for Voice – 54th Year
- Individual awards of $2000 to upwards of $10,000 -
Wagner Division
Requirements: 4 arias by Wagner and 1 aria in a language other than German
Age limits: 25 - 45 years as of 1/1/2014
January 8 -10, 2014 (contestants who are not local will be given priority on January 10th)
Finals – Saturday Afternoon, January 11, 2014
--------------------------------------------------------General Opera Division
Requirements: 5 arias (in at least 3 languages)
Local contestants (Tri-state, Boston, Philadelphia and D.C. areas) –
January 12 – 16, 2014
Contestants from outside the above areas – January 17, 2014
Finals – Saturday Afternoon, January 18, 2014
--------------------------------------------------------Lieder / Art Song Division
Requirements: 5 art songs (in at least 3 languages)
(3 songs must be in German, 1 song must be by Schubert)
Local contestants (Tri-state, Boston, Philadelphia and D.C. areas) –
January 21 – 23, 2014
Contestants from outside the above areas – January 23 & 24, 2014
Finals – January 25, 2014
--------------------------------------------------------All prizewinners must be available to perform at
Weill Hall at Carnegie Hall in March, 2014, date TBA
--------------------------------------------------------Location
The Liederkranz Foundation
6 East 87 Street (between Madison and Fifth Avenues)
New York, N.Y. 10128
th
Application forms will be available in September on YAP Tracker,
E-mail: [email protected]
www.liederkranzny.org
The Viterbo University Music Department…
features a dedicated faculty of artist-teachers, outstanding
programs in piano, voice, and music education (choral/general),
numerous choral ensembles and productions, first-rate facilities,
recently restored Steinway grand pianos, and NASM accreditation
since 1942.
Voice Faculty
Diane Foust
Jean Saladino
Dan Johnson-Wilmot
Ann Schoenecker
Coach-Accompanists
Judy Stafslien
David Richardson
Degrees
• B.M. in Music Performance
• B.M. in Music Education (choral/general)
• B.A. in Music
To learn more about Viterbo University’s
music program, visit www.viterbo.edu/music
900 Viterbo Drive
La Crosse, WI 54601
1-800-VITERBO
[email protected]
Eddy as Dorabella in the Glimmerglass
production of Così fan tutte, 2005
Sandra Piques Eddy
interested in Early Music but also in a
healthy vocal development for you?
I started off as a chorus member in
Boston Baroque. And Marty Pearlman
heard me at Boston University’s opera
production of La Clemenza di Tito, and
that’s how I got the roles of Speranza
and the Messenger in Orfeo and Poppea.
Early Music really speaks to me. I love
listening to Early Music and performing
it. Last year I was lucky enough to be
part of The Enchanted Island at the Met.
I understudied Joyce DiDonato, and that
was just heavenly. I said I was going to
have withdrawals when I was through
with that music.
Many of your roles are very passionate,
exuberant characters with a lot of
determination. Rosina, Cherubino,
Isabella, Dorabella and, of course,
Carmen. Then there’s a role like
Cenerentola, arguably a softer, more
passive character. Which do you
identify with more, personally, and
how is it you find your way into the
other type that simply isn’t like you at
all?
My goal always is to serve the music
and serve the story—even something
like Cenerentola, which is a little more
passive than, say, Isabella. She is such
an extraordinary character, Cenerentola.
Think about how good she is. She is in
love with what she thinks is the chauffeur
and she stays true to that love. My
favorite part is the end when she forgives
her sisters and her father. To me that is
such an extraordinary character.
It’s a lot of fun to play a character like
Dorabella that’s a little skittish and so
impressionable. The thing I love about
Dorabella is, in the first aria, she’s so
influenced by her sister Fiordiligi. Her
first aria could almost be a Fiordiligi
aria. But by the time act two rolls around
and she sings “E amore un ladroncello”
it almost sounds like a Despina aria. It’s
T h e P eT r i e School of MuSic
s
t
is
t
r
A
t
a
e
r
G
g
in
r
Prepa
Tharanga Goonetilleke ’05
BM Vocal Performance,
Converse College
MM and Artist Diploma in Opera
Studies, The Juilliard School
Roster of New York City Opera
An Associate of Trinity College
of Music in London
Learn more!
converse.edu/petrieschool
580 East Main Street • Spartanburg, SC • 864.596.9040
so clever how her music is written and
how you see it runs the gamut. In the
beginning she’s so influenced by one
person, and by the end she’s completely
taken over by Despina’s philosophies.
It sounds like you’re saying she comes
out from her big sister’s shadow.
She’s trying to outdo her sister, I think.
We’re doing it in English right now in
Boston, and when Fiordiligi sings, “I’m
fainting,” I have to say it in a higher
pitch, “I’m dying,” outdoing her not
only in the pitch but in the words. But
that’s a lot of fun to play on stage, that
skittishness.
Is that how you are in real life?
They used to say I was lethargically
challenged. I have a lot of energy, which
I think lends well to characters like
Cherubino and Hänsel. I love playing
Hänsel.
“The Rose & the Thorn:
Contrasts in Music & Dance of
Earlier Times”
Early Music Week
June 27—July 4, 2013
beautiful music under the
trees, near Plymouth, MA
harpsichord, recorder,
viol, violin, voice, medieval
percussion, plucked strings,
Renaissance winds, historical
& English country dance
Country Dance & Song Society
www.cdss.org/EM
Sandra Piques Eddy
“I snuck out onto the stage after it was all over, after I knew I
wasn’t going on to the final round, and I knelt down. I kissed my
hand and I touched the stage and said thank you. . . . I was so
thankful for that moment.”
Let’s talk a little bit about your
relationship with the Met. You were
an educational grant recipient there.
What was that like and what has that
relationship meant to you?
The Met heard me at Glimmerglass
Opera when I was a Young Artist. It
was my second year there. It was a
panel that seemed like a million people
but it was honestly probably about 20
to 30 people—a panel of companies
from all over the country, and
management. It was our last audition
of the season. I remember exactly what
I sang. I sang an aria from La finta
giardiniera, and I sang The Rape of
Lucretia.
After the audition, I didn’t think
anything of it and I went on to my Young
Artist responsibilities for the day. A
couple of days later I received an e-mail
from Lenore Rosenberg asking what
my availability was for six or seven time
periods of that year. At that point, I was
on a little laptop, and I looked around
to see if this was a joke or something. Of
course, what did I write? “I am available
any time you need me!”
My first role was the third servant
to the Barak’s wife in Die Frau ohne
INTERNATIONAL ACADEMY
OF MUSIC
(aCaDeMie interationale D’ete De niCe)
nice - France
inForMations anD registration:
www.nice.hexagone.net
week 1 - Monday July 15 to July 22
week 2 - Monday July 22 to July 29
week 3 - Monday July 29 to august 5
Vocal Technique and inTerpreTaTion
chanT eT piano
Dalton BalDwin
lorraine nuBar
For FurTher inFormaTion:
registration oFFiCe: telephone: 011 33 970 44 09 36
[email protected]
aCaDeMie internationale D’ete De niCe
Monastere De CiMiez - plaCe pape Jean-paul ii
F - 06000 niCe- FranCe
Schatten. That year was spent at the
Met singing roles like the Dragonfly
in L’enfant et les sortilèges [and] the
Countess Ceprano in Rigoletto. It was
a fabulous way to be introduced to the
company. I’ve been there since 2001 and
I have to say, every time I walk into that
building I still have this incredible feeling
of reverence. I don’t know if that will
ever go away, but I hope it doesn’t.
I won the Met competition here in
New England. I had bronchitis and I
was teaching at the Handel and Haydn
Society on that Saturday morning. They
used to have a preliminary on Saturday,
Sandra Piques Eddy
photo by Tim Matheson
Eddy and Joshua Hopkins as Rosina and Figaro in Vancouver Opera’s production of Il barbiere di Siviglia, 2012
and then they’d whittle it down on
Sunday, and we’d all sing in Jordan
Hall. When I won for the New England
Region, that was a complete surprise
to me. Maybe it wasn’t a surprise to my
husband or my teacher, but to me it was a
complete surprise, and I was so thankful
and giddy.
So, I went to New York, though I
didn’t make it to that next round. I snuck
out onto the stage after it was all over,
after I knew I wasn’t going on to the final
round, and I knelt down. I kissed my
hand and I touched the stage and said
thank you. This is a true story. I know it
sounds hokey, but I was so thankful for
that moment. If someone had told me
that a year later I would be singing roles
there—talk about a Cinderella story . . .
for me, that was a Cinderella story.
I’m happy to come back to the Met
next year for Two Boys [singing Fiona].
That’s a very provocative opera, and
I think it’s going to be a big success.
I’m very excited to be part of that
collaboration and I’m very thankful for
my relationship with the Met and the
people who believe in me there.
[At this point in the interview, threeand-a-half-year-old Beatrice comes into
the room and there is some discussion,
now that Angelina Ballerina is over,
about which Tinker Bell video to watch.
This leads us to the topic of family.]
What does your support team look like
these days, and how are you finding
balancing such a lively career and
family life?
I used to teach before I went back for
my master’s. I was a music ed undergrad
major at Boston Conservatory. I was a
teacher for three years in the Needham
public schools. I feel like teaching and
parenthood have taught me to really
think on my feet. I have to have a plan B,
C, D.
I’m learning to just take things and
roll with it. My support team is my
family. My husband has been wonderful,
my brothers, their girlfriends have
been wonderful. They help out with
Sandra Piques Eddy
Eddy as the title role in Opera Coeur d’Alene’s
production of Carmen, 2012
photo by Dan Sausser
get through those times. But I hope that
anybody reading this who is going through
a tough time knows to just keep your hope
up, keep fighting that good fight, try to stay
strong.
A lot of people go through it. Not
everybody has an easy pregnancy or
an easy time having a baby. When I
found out with the third pregnancy that
everything was fine, I had an audition
the afternoon that I got the test results. I
was so happy—that audition was the best
audition I ever had. My manager said,
“Wow, you sound like a star!” and it was
just because everything was working out in
my life. That’s part of the reason we named
her Beatrice, because the name means
“messenger of happiness.”
babysitting every once in a while, [as does]
my mother. My sister-in-law has traveled
to Kansas City with my daughter when I
was singing Rosina there last year and she
helped me while she was on school break.
She’s a third grade teacher.
I’ve been really lucky that people believe
in me enough and want to help me. We
do have to ask for help in order to do this
efficiently and to do it as best we can. We
can’t be afraid to ask for help.
I think that might be a very useful thing
for singers to hear.
When my singer friends are pregnant
I get e-mails and messages on Facebook
asking me all kinds of questions. “What
was it like singing when you were
pregnant?” “When did you stop singing
when you were pregnant?” “When did you
start singing again after she was born?”
“How did you handle breast feeding?”
“What’s the best stroller?” I’m flattered
that people trust me with their secret,
because sometimes they’re not telling
people.
I didn’t have the easiest time with
parenthood. I had two miscarriages and
I had problems with fertility, and I don’t
mind talking about it because I think many
women go through this. People don’t talk
about it because it’s a time when women
and couples hurt. If you’re singing, so
much of what we do has to do with if
we’re feeling confident and happy and
can communicate better, and there was
a time when I was just putting on a brave
face, and maybe that is what helped me
What do you like most about your life
and career as an opera singer?
To be able to serve the music, serve the
story, to lose yourself in the character and
get energy from your cast members, and
every time you’re up there it’s a different
experience—that to me is the most exciting
thing. I love to challenge myself to get to go
those places that I never thought I’d get to
dramatically or vocally—doing it or nailing
it and feeling like I’m really serving that
music. I love traveling. I love meeting new
people. I love delving into roles.
What’s one thing about your life as
an opera singer that you would like to
change, or perhaps that you see changing
for yourself in a positive way, as your
career goes on?
One thing I’m starting to understand is
[that] all I can do is my very best. I can’t
second guess myself and worry about
things I can’t control. As long as I’m true
to my instincts and do my homework, I’m
golden. And that goes for anybody. If you
do your homework and trust your gut,
you’re going to be OK. Everything’s going
to be wonderful.
Lisa Houston is a dramatic soprano
and writer living in Berlin. Her website is
www.lisahoustonsoprano.com. She can be
reached at [email protected].
Jennifer Taylor
Master Classes
for Classical Singers
January 12–16, 2014
Marilyn Horne
Tuition-Free
Marilyn Horne, Christa Ludwig,
and Martin Katz: The Song Continues
Train with the best and perform at Carnegie Hall.
Apply now to participate in this tuition-free workshop for singers ages 18–35.
Application Deadline: October 1, 2013
The Song Continues is supported, in part, by the Ann and Gordon Getty Foundation.
Workshops and master classes are made possible, in part, by Mr. and Mrs. Nicola Bulgari and The Gladys Krieble Delmas Foundation.
This program is part of the Marilyn Horne legacy at Carnegie Hall.
carnegiehall.org/workshops | 212-903-9741
Signing Your
First Contract
By Kathleen Farrar Buccleugh
Your first professional engagement with
an accompanying contract is a thrill! But
understanding and agreeing upon the terms of
said contract? Perhaps not so thrilling. Avoid
common pitfalls by following the expert advice
offered here.
C
ontracts can be complicated,
but something singers seeking
a professional career will
inevitably have to deal with. Binding
yourself to a company can be tricky, and
knowing what you’re getting into before
starting a job is important for both your
benefit and the company’s.
Three professionals who deal with
musicians’ contracts on a regular
basis—Robert Mirshak, president and
founder of Mirshak Artist Management,
an artist management agency with
offices in New York City and Los
Angeles; Ana De Archuleta, president
of New York City-based ADA Artist
Management; and Miguel Rodriguez,
executive director of Boston Baroque—
share their tips for unmanaged singers
signing their first contracts.
First Steps
Read the contract in its entirety, and
then read it again. If it is not easily
digestible, make a checklist of what is
and is not addressed and what needs
further explanation.
“Normally, with all contracts you
expect the turnaround to be quick,”
Rodriguez says, so take time to
understand the terms but respect the
deadlines given to you.
Learning the role may not be all
that is required of you in advance.
You may be asked to submit highresolution digital headshots, a bio of
specified length, and even costume
measurements. Always have these
readily available and never tell the
company to just get your materials from
your website, Rodriguez says.
If performing in an oratorio or a
concert opera, ask about attire. “What
is the concert dress? Make sure that
the contract specifies before you sign it.
Just ask them, ‘Is it tails? Is it all black?’
What are the expectations?” suggests
Rodriguez.
Check your availability, keeping
in mind everything from your other
singing commitments to family
gatherings and friends’ weddings and
baby showers. Special dates may be
negotiable with the company, so keep
this in mind for when negotiations
begin.
“Make sure that the dates of
when you’re expected for rehearsal
are accurate and that they don’t
conflict with anything else you
have,” Rodriguez advises. “A lot of
times young singers think only of the
performing date and not the rehearsal
period, so make sure that the contract
has in it rehearsal dates that don’t
conflict with anything else you have.”
Consulting Trusted Professionals and
Gathering Information
Your first singing contract could be
your first-ever professional agreement,
so it is OK if you are lost after reading
through the pages. Not understanding
the terms, however, is not an excuse
to blindly sign on the dotted line. It
Signing Your First Contract
“An offer is exciting, but signing your name
means a commitment of a few days, weeks,
or even several months—and you need to
be on the lookout for terms or wording that
could make that time difficult.”
is your responsibility to consult with
professionals you trust to make sure the
document is clear and thorough.
“It is always good to consult your
team,” De Archuleta says, particularly if
you do not understand a certain clause
or if you do not know if the terms seem
fair. “Don’t be afraid to admit you
don’t know and use resources to find
information.” She suggests making
the most of OPERA America, AGMA,
colleagues, and teachers.
Managed singers already have their
management team on their side, but
“in the case that you are unmanaged,
you usually need some type of advice,”
Mirshak notes.
“Try to know as much about the
company that offers you a contract as
you can without asking the general
director, artistic director, or artistic
administrator,” he continues. “Be
proactive and take control of the
situation by knowing as much as you
can.”
Doing so will prepare you for the
next step in the process: negotiations.
Negotiating Fees, Other Terms
By this point, you should know
whether you want to pursue the
contract further. If the role is not right
for you or you are unavailable for the
contracted dates, “it is OK to say no,”
says De Archuleta. “If they want you,
they will want you again.”
Managed singers need not worry
about negotiating. Rodriguez says
to let managers and agents handle
the negotiation process. “I like my
relationships with agents in a good
place. I would never negotiate with
singers who are under management,”
he says.
For nonmanaged singers, negotiating
can be a difficult and unpleasant
process, but do not let that keep you
from trying. To begin the conversation,
have a clear idea of what you want
to ask for. Higher pay? Why, and
how much? Travel reimbursement?
Housing for a family member? A more
private living situation?
De Archuleta says to not be greedy,
“but if it the terms make it impossible
to do the job, be honest as to why.”
It is not always easy to understand
how a company comes up with a
figure. “[A fee] may be determined
by the length of the work, how hard
it is, is it a standard piece or not, the
instrumentation, the number of soloists
that may be involved in the work,”
explains Rodriguez. There are so
many factors that affect what you are
offered, and those factors may dictate
whether there is much wiggle room for
negotiation.
For some concerts or productions,
a company may decide to pay on an
even scale. For instance, all leads may
get $1,000 and all comprimari may get
$500. In that case, negotiations are very
unlikely. But again, you may not know
until you ask.
An acceptable way to approach the
conversation, Rodriguez advises, would
be to say: “I totally understand (what
Overview: Before You Sign
1.Make sure you are available during
the required dates.
2.Make sure the role offered is a good
fit.
3.Get back to the company with
confirmation of role suitability and
availability.
4.If they haven’t offered the terms,
ask for the terms.
5.Take time to review all the details:
fee, per diems, housing, travel,
ground transportation.
6.If everything looks good, confirm
and ask them to send a contract.
Note: Once you confirm it is important
not to go back and try to renegotiate
anything. The moment to negotiate is
between steps 5 and 6.
—Ana De Archuleta
Hear more from De Archuleta at the
Classical Singer Convention. See pp.
85-86 for more information.
you are offering), but that’s a new piece
for me and it’s a hard piece and I’m
going to have to invest in coachings.”
That is a “very fair negotiation
argument,” he concedes.
Warning Signs
The last thing you want or need to do
for your career is to accept a contract
simply out of excitement. An offer is
exciting, but signing your name means
a commitment of a few days, weeks, or
even several months—and you need to
be on the lookout for terms or wording
that could make that time difficult.
Mirshak says to pay attention to
noncommittal wording such as “we
don’t know when we will pay you” or
“the housing will be fine.” Terms should
be clear and agreeable to you, not just
to the company. Do not immediately
balk at such wording, though. Give the
company a chance to be more up front
about things that concern you.
“I find that more and more smaller
Signing Your First Contract
Questions to Ask for Your Protection
• Is this role/part right for me?
• Is housing provided? What type of housing, and do I have a private bathroom? Is a
kitchen available?
• Is travel booking or reimbursement provided? Is ground transportation my
responsibility?
• What will I be paid? Is this enough to justify the amount of time and coaching I must
devote to preparation, rehearsals, and performance?
• When exactly will I be paid?
• If the company cancels the performance(s), will I still be paid?
• Do I buy my score? What language is the performance in? What cuts are being
taken?
• Is this an AGMA contract? If so, who covers the AGMA fee?
companies include a clause that says
that the company can cancel a contract
at any time,” Mirshak continues. “This
is not a contract. If the company wants
you to sign a binding contract and not
cancel, the company should do the same.
Both sides should have consequences for
breaking the deal.”
Breaking a Contract
Backing out on a legally binding
agreement is taboo, but it happens,
Rodriguez says. “It’s never a happy
moment for the contracting company,”
but situations such as pregnancy,
sickness, or family emergencies call
for such an extreme action. “Make
sure you’re very sincere and open and
honest,” advises Rodriguez.
You may choose to break your
contract if you get a better gig—but
beware of the consequences, particularly
if you lie about why you are breaking
your contract. “People talk,” Rodriguez
says, and you risk marring your
relationship with not only that company
but others that get word of what you
have done.
If you are up front about the new
gig, Mirshak says, “you can ‘ask’ to be
released for major opportunities such as
at the Metropolitan Opera, La Scala, or
for a recording contract,” and sometimes
companies will be understanding. “You
might offer to do something for that
company for free in the future or to
come back and do a donor event,” he
suggests. If the company does not release
you, however, you must deal with the
consequences—though, De Archuleta
recommends that you “stick to your
original agreement.”
If there is a cover for your role, you
may try to work out a deal with the
company. Rodriguez recommends
wording something like this: “I have this
opportunity and it conflicts with the last
performance. Would it be all right if the
cover does it? And then at that point,
the fee may be readjusted and that’s
fine.”
But in general, De Archuleta and
Mirshak advise against breaking a
contract. You may not realize just how
badly the action could affect your future
opportunities and reputation.
Announcing Offers and Casting
The second you receive an offer you
should post a status update with all the
details on Facebook, right? Absolutely
not.
Judging by the number of your
Facebook friends who do this, you may
think it is acceptable in the professional
world. It can be both alarming and
embarrassing to a company, however,
if you do not respect its timeline
for making season and casting
announcements.
If not addressed in the terms of
your contract, Rodriguez says to ask
the marketing or public relations
coordinator when you are allowed to
announce your upcoming engagement.
You may be able to list it on your résumé
for audition purposes until the company
announces its season.
Kathleen Farrar Buccleugh is a
journalist and soprano living in
Tuscaloosa, Ala.
ALTAMURA SUMMER INSTITUTE – 7/21-- 7/ 30
ENCOUNTER WITH THE MASTERS, ROUND TOP, NEW YORK
WHERE LISTENING AND TEACHING IS AN ART AND MENTORING IS A JOY.
ITALIAN, DICTION, REPERTOIRE, VOICE TECHNIQUE, ACTING,
PERFORMANCE, AUDITION SKILLS, AND MUCH MORE.
EXPERIENCE AND KNOW WHO YOU ARE!
AND ALL YOU CAN BE. GIUSEPPE VERDI BICENTENNIAL CELEBRATION SUN, 7/ 28, 2PM
TUITION: $2,500 - GENEROUS SCHOLARSHIPS AVAILABLE BY AUDITION, CALL: 201-863-8724
www.altocanto.org [email protected]
CARNEGIE MELLON
SCHOOL OF MUSIC
Welcomes to the Voice Faculty
Jennifer Aylmer, Soprano, Assistant Professor
Maria Spacagna, Soprano, Associate Professor
music.cmu.edu
DEGREES
Bachelor of Music in Performance
Bachelor of Arts Honours in Music
Bachelor of Musical Arts
Bachelor of Music Education
Master of Music in Performance
and Literature in Voice
DMA in Voice Performance
SUMMER PROGRAMS
Discover Western’s
VOICE PROGRAM
Our voice program allows students to achieve their highest potential and
reach their goals; offering a positive learning environment, high academic
standards and training centered upon performing and pedagogy skills.
Western graduates and current students are found singing on the world’s
stages, and in international summer programs and young artists programs.
Canadian Operatic Arts Academy
Accademia Europea Dell’Opera (Lucca, Italy)
Vocal Intensive Intersession
FACULTY
Theodore Baerg
Torin Chiles
Barbara Dunn-Prosser
Gloria Gassi
Patricia Green
Anita Krause-Wiebe
Gwenlynn Little
Rachel Mallon
Jennifer Moir
Christiane Riel
Sophie Roland
Jackalyn Short
Sherry Steele
Frederique Vezina
Todd Wieczorek
Michael Cavanaugh
(Acting)
Barb Sarma
(Movement)
Visit www.music.uwo.ca
for more information
Jeanie LoVetri
can you
Do It All?
Women who are singers, teachers, authors,
administrators, wives, mothers and more weigh in on
this age-old question.
By Michelle Latour
“S
ociologists say that women inhabit more roles
these days than ever. This multiplicity of hats
can translate into nonstop competing goals”
(Rachael Combe, Elle, Dec. 2011). And those goals can be
even more daunting if your job is as a singer. How do you
juggle international career and motherhood? Or how about
tenure-seeking artist-teacher while taking care of ailing parents?
Or how about as singer, teacher, mom, and spouse? Or even
aspiring singer with a 9-to-5 job? How do you do it all without
losing yourself ? Or do you even attempt to do it all?
Having it all and doing it all can be exhausting. According
to the latest science on willpower, the best thing you can do
for your productivity and equanimity is to give yourself a break
(ibid.). I constantly struggle with this dilemma. As a singer,
university professor, and writer in my 40s, I had recently reevaluated my career path because honestly, I had chosen
my career over everything else, including ruining a 12-year
relationship that I ran into the ground. Although nearly six of
those 12 years had been long distance, I had grown accustomed
to work, work, work during our absences. Unfortunately, I was
not able to shut that off when I did see my significant other.
After some hardcore soul searching, I determined not to
make the same mistake twice. Easier said than done. Being an
overachieving, type-A personality proves challenging no matter
how much yoga I do, and I have found that balancing work
and personal life can be exceedingly stressful. I asked women
I admired—voice teachers with whom I have studied, singer
friends who have fantastic careers, admirable colleagues, and
current and former students who are figuring things out: “Is it
possible to do it all?”
The Price of Having It All
“Women of our era have to do a lot of soul searching when
it comes to family and career,” says soprano Zipporah Peddle,
who sings in Cirque du Soleil’s O; recently formed the fourvoice virtuoso ensemble, Vox Indigo; holds a master’s in
voice performance from UNLV; and is engaged. “Can I really
maintain my career goals and still be a loving and present
mother and partner? If I take some time off, how likely is it
that I will be able to bounce back into a performance career?
Will a potential gig cause problems in my personal life—and
is it worth that risk? For me, having a successful and happy
personal life has definitely moved into the number one spot in
terms of priority.”
And since becoming the lead vocalist in O in 2007, Peddle
feels her career move was life changing. “I spent my 20s
jumping from show to show. At the time, it didn’t bother me
since I wasn’t ready to settle down. My career was absolutely
my number one priority. But as I got older, I started to wonder
how exactly I was going to have a home and family without
abandoning my ambitions, which is a common concern for
performers. Ultimately, many of us choose to leave the business
in order to get our personal lives on track. I am lucky in that I
haven’t had to make that choice.”
“Remember when your parents told you that you could do it
all? I took that to heart!” says Melinda Becker, mezzo-soprano
and singer for Duo Fado, a voice-and-guitar collaboration,
and adjunct professor of music and choral ensemble director
at Marymount College. But not everyone agrees. Los Angelesbased keyboard collaborative artist Linda Zoolalian—who is
music director, coach, and pianist for Opera Festival di Roma;
pianist for Los Angeles Opera; and part of the adjunct faculties
at Pomona College and Pasadena City College—says, “You
can’t have it all unless you want to drive yourself crazy trying.”
Jeanie LoVetri, New York-based teacher and creator of the
Somatic Voicework method, concurs. “I do think that trying
to have it all is foolish. I don’t think it’s good to try to be a
successful career woman, a great mother, a fabulous wife,
as well as a wonderful daughter, sister, friend, and member of
society while also trying to take care of your own needs, only
to end up being exhausted and overextended. Women are still
up against a lot of difficult social messages that cause inner
conflict, and many of us continue to be strongly conditioned to
be caretakers, helping others before we help ourselves. Present
generations can still be pressured to be successful in careers but
also to be in a relationship or to become mothers. It’s better to
Can You Do It All?
in
Rob
an and family
Follm
let
g o
o f
trying to
have every
possible experience and focus on doing a
few things well.”
Courtney Crouse, soprano and
assistant professor of voice and opera
director at the Wanda L. Bass School
of Music at Oklahoma City University
describes her balance: “Women are often
givers and, if we aren’t careful, there is
nothing left for us. I become an unhappy
person and lose the sense of my calling to
be a teacher if I am trying to be too much
to too many people, so I have learned to
set aside clear boundaries of time.”
What advice did other singers have? I
followed up with the question “Do you
have any advice for young female singers
who are struggling with this dilemma?”
Sage Advice
Jenny Millsap, New York-based
soprano and mother of two young boys,
declares, “There is no right answer, it’s
just what you want and don’t want. And
if you want to have kids, then just have
them. Don’t wait for the perfect time
or the perfect amount of money or the
perfect point in your career. The perfect
conditions hardly ever exist. Your life is
very malleable. If you allow yourself to
be flexible, you will find that your life
changes shape to fit your children.”
Singer, teacher, and mother of two,
Rebecca Brandt Hample, agrees. “No
matter where you are in life—with or
without a family, career, children—you
bara
Ba r
DeMaio Caprilli
can
make
changes.
I
have
often thought I would be doing a
disservice to all the time and money I
spent, and all the love and guidance my
teachers have given, if I decided to stop
singing. Like it would be failing in some
way. Then I see my children dancing
and singing and realize all of my training
is being put to the best use ever, to pass
music on to the next generation. I got
into singing to share music with others,
and that’s what I get to do every day.”
Barbara DeMaio Caprilli, artistic
director of American Singers’ Opera
Project and University of Central
Oklahoma instructor of voice, reflects
on her career change. “Decide what is
important to you and design a career
around that. I left full-time singing in
my 50s, rather than going on into my
60s as I had originally planned, because
I missed being with my husband and
I discovered that I loved teaching. It’s
a lonely life on the road, and I decided
that it was worth the cut in pay to have
a teaching job, a home, and a husband
to come home to every night. If you
want an international career, you must
choose your life partner wisely—a
coach, pianist, conductor, or agent
will be understanding of your travel
and commitments [but] a plumber or
policeman, probably not.”
Lauren McKay, soprano and teacher,
knew early on that she wanted a family
above all else. However, since her
husband is in the military, that has
presented some additional challenges.
“I decided that having a husband and
children were what I wanted, and that if
a performance career was available to me
I would pursue it, keeping traveling to a
minimum and time with my family at a
maximum.
“When I got married,” she continues,
“I had to really buckle down and stick
to my decision. I couldn’t be a military
spouse and have a deployed husband
and leave any potential children at home
while I traveled or was in late-night
rehearsals. I wouldn’t trade our life
together for anything. I chose my place,
and it’s wherever he is or waiting for him
to return from wherever he is. I knew
when I was little I wanted to sing, but I
also knew that having a family would be
a higher priority. If the most important
thing to you is your career, you’re doing
the same thing as I am—you’re just doing
it in a different way.”
Lisa Maresch—Los Angeles-based
pianist and teacher; founder of the
Scholarship Student Showcase for the
Warne Foundation in Orange County,
Calif.; director of a piano festival in
American Samoa; and newly appointed
to the board of directors for Arquetopia
in Mexico, a nonprofit foundation for
music and arts—suggests that “No
matter which path you take, something
has to give somewhere, so you have
to decide what is most important for
you. Whether you chose to become
a performing musician or a mother,
both professions are very noble and
respectful. You should go into either
career with great pride.”
Many women stressed the need for
some down time amid hectic schedules.
“There are times in the semester
that are so busy and scheduled that
my life is definitely not in balance,”
says soprano Linda Lister, assistant
professor of voice and director of opera
theater at UNLV and author of Yoga for
Singers. “But I do try to make time for
regular yoga and meditation practice.
That restorative time keeps me more
grounded and positive, which makes
me a better teacher and colleague.
Sometimes I go for a hike or a bike
Can You Do It All?
Laure
Shero
n McKay
nda McKee
ride and lose myself in
nature to reconnect
with
myself.
Riding my bike
makes me feel
like a kid again
because
it
reminds me of
my first taste
of freedom and
adventure.”
“I need to take
breaks for my sanity!”
exclaims Melissa Sugarman,
soprano
and
graduate
student at the University
of Washington. “I give
myself a few hours every
week that are free from
responsibility. It all lies in
knowing your priorities and
knowing the domino effect
of your decisions. I used to
sacrifice sleep to fit everything into
my life, and that only works for so long. Sleep is really, really
important.”
Several singers recommended envisioning how you would
like your career to evolve in the long term. “Think ahead to
yourself at 70,” Millsap suggests. “Imagine in great detail
what it would be like to have stopped your career where it is
but to be in the loving embrace of your spouse with your kids
and grandkids around you. Then imagine yourself wildly
successful as a singer but alone. Decide which is more
important to you and then do that.”
Internationally acclaimed soprano, Robin Follman, who is
also mother to two young children and CEO of the FollmanYoung Foundation for the Arts, wholeheartedly concurs, “I
would absolutely choose to have a family many times over.
One day your singing career will be over, and you will have
to live with the choices you make at the beginning of your
career for the rest of your life. I always knew that singing and
performing was not enough for me. It took singing with a
friend of mine, Sari Gruber, to give me the courage to make
the decision to start a family with medical assistance.”
Fortunately, Follman’s body responded to treatments, and
she was able to have a family. And her singing career? “Even
though I continued to perform, I kept it on a limited basis.
Only now am I starting to plan out my singing future again.
Can You Do It All?
Sarah
Courtn
Diller
ey Crouse
“Make sure you are communicating
with your management about your
health and recovery once you have
kids,” Follman continues. “Your agent
is working hard for you in a difficult
NYOS
OPERA
ADVANTAGE
order in which things have to be
done, or are perceived as having to
be done, affect your own path,”
says Sheronda McKee, soprano
and doctoral student at UNLV.
Soprano Sarah Diller, graduate
student of opera performance
at Wichita State University
adds, “Make the choices
that you think will make you
the happiest. You live with the
choices you make, so don’t let
other people choose them for you.”
economy and deserves to know
when you are truly ready for singing
professionally again.”
The bottom line? You have to decide
for yourself how to balance career,
family, and personal time. “Do not let
any of the stress and hype about the
CELEBRATING
11
CONTEMPORARY
COMMERCIAL MUSIC
YEARS
2013 Vocal Pedagogy Institute
July 7 through 22, 2013
July 13–22
at SUNY SUllivaN,
loch Sheldrake, NY
Join the esteemed professional faculty of the
NYOS at SUNY Sullivan this summer for an intensive two-week program designed to guide
singers through the process of integrating
musical ideas, language skills, body language
and acting craft in a highly creative and personally artistic way. This inspiring and creative
program will change the way you approach
your singing and performing forever.
Singers will prepare and perform parts
of the Marriage of Figaro, culminating
in two public performances.
Applications now being accepted. To
apply or for more information, visit
www.newyorkoperastudio.org
Soprano Michelle Latour is part
of the full-time voice faculty at the
University of Nevada–Las Vegas and is
the NATS Nevada State Governor. She
is active as a singer, teacher, writer,
adjudicator, and workshop presenter
throughout
California,
Nevada,
and the Midwest. Visit her online at
www.michellelatour.com.
Jeannette LoVetri
“…[I] attribute my growth as
an artist to her solid and clear
teaching of technique.”
– Luciana
Souza,
2008 Grammy Award Winner
Somatic Voicework™ –
The LoVetri Method
Level I, II, III
Post Certification courses offered:
• Studio Technology with Matt Edwards
• Barbershop Quartet Styles
• Theo Bleckmann: Avant-garde Styles
All courses earn one graduate credit.
CONTACT US TO SIGN UP:
For information:
540-665-4556
Call 540-665-4600
[email protected]
E-mail: [email protected]
www.ccminstitute.com
www.su.edu/tvpc
Education, Boston Style
By Amanda White
Come for the convention, stay for grad school! Take an in-depth look at the voice
programs at three Boston schools.
I
f there’s one thing Boston is known for besides rabid baseball fans, it’s higher education.
The home of Harvard and MIT isn’t just for budding engineers and lawyers, though—the
city also boasts a number of music schools, conservatories, and world-class opera programs.
Here we take a look at graduate voice and opera programs at three music schools: Longy School
of Music, New England Conservatory, and Boston Conservatory.
Longy School of Music of Bard College
I have to admit, I was surprised when I started researching this article to see that Longy’s full
name has expanded since I was last a Boston music student. When I took a summer course at
Longy back in the early aughts, or popped in to see my opera buddies in an occasional scenes
program or recital, it was just Longy School of Music. Turns out it was only last year that Longy
merged with Bard College and its Conservatory of Music, so don’t feel bad if you didn’t know
either.
Located “over the river” in Cambridge—in the vicinity of Harvard Square—Longy is petite.
Longy offers a master of music degree in opera or vocal performance, as well as a graduate
performance diploma in either. Its tiny enrollment (235 students last year, 183 of which were
grads) translates to an intimate learning and performing environment and all the individual
attention you could ask for.
Donna Roll, director and chair of the opera department, explains the draw: “Many students
prefer a small environment with more performance opportunities. Every student in the opera
department is utilized and gets tremendous stage time—and receives one-on-one training every
day with coaching, opera studio, aria monologue class, dramatic coaching, and voice.
“Longy does not have a major theater with lighting and costuming,” Roll continues.
“However, what we do have is individual training, nurturing, one-on-one every day, every class
based in performance, four performances a year (one fully staged with orchestra), with additional
performances outside of the school.”
Longy student Jonah Spool became interested in Longy after working with one of their
coaches at a summer program in Austria. “I love that it’s a small school, because we get to
intermingle and work with people from other departments very frequently,” Spool says.
“The thing that makes the opera department at Longy great, aside from being its own
department separate from the voice department, is how much we get to sing and perform,” Spool
continues. “We sing in class over 10 hours a week, on top of a voice lesson, musical coaching,
and out-of-class rehearsal and practice—and not including any other engagements we might
have outside of school. When you’re singing this much under close (and very experienced)
supervision, your technique and musicality can grow so much in a relatively short time.”
Spool’s advice for prospectives? “When I first visited Longy, I sat in on a class that we have
called Aria/Monologue, which is essentially a twice-a-week masterclass in which students can
bring a piece, perform it in front of the class, and have it critiqued and worked on. If anyone was
interested in opera at Longy, this is the class I would recommend that they go and see. You really
Joshua Quinn and Philip Allen as Gabriel von Eisenstein and Frank in the
New England Conservatory’s production of Die Fledermaus, 2012
get a sense of how Donna thinks and feels about music, and she
accepts nothing less than the best you can give her at the time.
As soon as I saw her teach the class, I just knew that I wanted
to learn from her. It turned out to be one of the best decisions I
have ever made, and my technique and musicality have grown
tremendously!”
environment that is personal, supportive, and demanding. I can’t
say enough positive things about NEC and am looking forward to
the exciting years ahead.”
When asked the highlight of the academic year, Bybee is
undecided and offers tantalizing examples. “I honestly couldn’t
choose the highlight of the year. The main stage productions
New England Conservatory
Even located in the shadow of Boston’s Symphony Hall,
New England Conservatory refuses to be outdone, countering
with Jordan Hall, “one of the world’s most acoustically perfect
performance spaces” (necmusic.edu). NEC has 750 students
in its graduate and undergraduate programs, plus many more
preparatory and continuing education students.
NEC offers a master of music in vocal performance and vocal
pedagogy and a graduate diploma in vocal pedagogy. Both
graduate and undergraduate students have the opportunity to
audition for the Opera Studies program.
Chair of Vocal Arts Luretta Bybee recommends the Opera
Studies program at NEC for “those students who are looking for
serious dramatic training and top-notch mentoring and guidance
as they attempt to embark on a professional career. A student who
is ready to learn exactly what it takes, what will be expected of him
or her, to succeed, and have those expectations used as a standard
during their time at NEC—and a student who is ready to be a
supportive colleague and who can expect to be supported by his
or her peers.”
Joshua Major, the new opera studies chair, agrees. “Highly
motivated, professionally ambitious students would be very
happy at NEC. Those singers that are self-motivated and eager to
advance will find the school exciting and satisfying.
“I started at NEC last fall and am simply overwhelmed with
the talent level of student and faculty,” Major continues. “It is a
highly motivational and inspirational environment. Everyone is
simply trying to push themselves to be the best they can be in an
Carole Farley
Grammy-Nominated Metropolitan Opera Soprano
NOw ACCeptiNg StuDeNtS!
• Song/vocal repertoire
• Acting for singers
• Musicianship
• Orchestral score reading
• Recital/CD preparation
• Diction
• Career counseling
• Resume prep
• Audition techniques
• Finding a manager
Contact: Carole Farley
646-327-0151
[email protected]
www.carolefarley.com
Virtual lessons via
Skype also available.
Visit with me at the
Classical Singer Convention
Top Row (L to R): Salvatore Atti, Christina Pecce, Wesley Gentle; Bottom Row (L to R): Zachary
Ballard, George Milosh in the Boston Conservatory’s production of Conrad Susa’s Transformations, 2012
photo by Maximilian Wagenblass
are phenomenal, but the aria evening in
December featured each grad student and
was solely Handel and it was stunning. I
also saw the outreach production last fall
at the Boston Children’s Museum and will
never forget the way the students reached
the kids.” She also mentions that two
annual fully staged operas are performed
with NEC’s full orchestra, “which is known
to be one of the best, if not the best, in the
country.”
NEC offers a well-rounded education,
according to Bybee. “I would also like
to mention how fabulous our liberal arts
division is, and also would like to say that
the opportunities at NEC to explore and
grow as an artist are unsurpassed. Students
get the opportunity in any given week to
do their own performing, hear cuttingedge jazz, experience the finest chamber
music, and be exposed to all the out-ofthe-box creativity that our Contemporary
Improvisations department shares. Things
are always happening at NEC, and we are all
on the same team. We lift one another up—
encourage one another—and all the while
expect the very best by setting standards
high.”
Boston Conservatory
The Boston Conservatory, affectionately
referred to as “BoCo” (and—full
disclosure—this reporter’s alma mater)
lives just a few blocks away from NEC
and is about the same size. But assuming
not much has changed since I graduated
in *ahem,* the two schools share a nice
sisterly relationship, and visits from one
school to the other to observe mainstage
performances and masterclasses were
frequent in my day.
The Boston Conservatory offers a
master of music in vocal performance
or opera performance, a graduate
performance
diploma
in
vocal
performance or opera performance, and
a professional studies certificate in voice,
as well as degrees in musical theatre and
collaborative piano.
“Something that makes Boston
Conservatory stand out amongst
conservatories is our multidisciplinary
training,” says Patty Thom, chair of voice
and opera. “Having very strong music
theatre and dance degree programs in
the Conservatory makes for a bubbling
artistic dynamic in the school. Singers
are learning from dancers, dancers are
learning from actors, actors are learning
from composers and instrumentalists,
and around it goes. These students are
sitting in classes together, watching one
another’s rehearsals, living together
in the dorms, and talking about the
intersections of each art form, their
likenesses and differences. Most
importantly, they are learning from one
another about how to think about art,
how to manifest art, how to express
themselves in the most acute manner
possible. This makes for a learning and
artistic environment like no other.”
“I think our program is unique
because it has a great balance between
excellent training and performance
experience,” adds Johnathon Pape,
director of opera studies. “The
curriculum for the MM and GPD
(graduate performance diploma) in
opera performance focuses on exactly
what young singers need to enter this
business. Everything in the degree
program is designed with that in mind.”
Pape’s description of the curriculum
is intriguing. “Obviously, students take
voice—and BoCo’s voice faculty is really
excellent, with teachers that are good
technicians and really help students
sing in a way that is leading them to the
industry standard. . . . Students in the
degree program take Opera Studio—
the top opera performing ensemble
at the school—each semester. They
have a full year of Acting and a full
year of Movement. There are courses
in Recitative and in Aria—not the
theoretical or harmonic analysis of these
forms, but how to perform them! The
history component of the degrees is
opera history, related specifically to their
area of interest. There is an Audition
Techniques class to hone auditioning
skills and a class in characterization,
where students learn a template for how
to research and prepare a role.
“And, finally, we teach a class called
The Business of the Opera Business,
which covers the practical matters that
young singers need as they venture
into the industry. Topics in this class
include understanding your brand,
how to create a business plan, tax tips
for singers, financial planning and
creating a realistic/workable budget,
working with agents/managers, life on
the road (surviving living in a hotel or
host housing, being away from friends
and family, etc.), surviving NYC (how to
make the best of what it has to offer and
not get overwhelmed by the rest, how to
have your day job not eat your life, etc.),
looking at career choices (when is it time
to look at other options and how to go
about that), [and] getting your materials
in order (résumés, bio, pictures, audio/
video clips, website).”
“There is a class called The Drama
of the Score,” Thom adds, “which is
about how to read and interpret all of the
information that the composer gives you
in the score, through musical instruction,
instrumentation choices or motivic
depiction about your character, her
motivations, and her inner life.”
Salvatore Atti returned to the Boston
Conservatory to pursue a professional
studies certificate after completing his
master’s of music in opera there. “What
draws me to the Conservatory is the
sense of camaraderie,” he explains.
“Students support each other, as well as
the faculty and staff. The Conservatory
offers great opportunity for collaborating
with pianists, other instrumentalists,
faculty, and composers. It is a safe
environment for trying new things—in
fact, exploration and creativity are highly
encouraged.”
If you decide to study in Boston, the
possibilities are endless. There are 52
colleges in Boston; these are just three.
But if you’re beginning your graduate
school search, the trifecta of Longy,
New England Conservatory, and Boston
Conservatory is a great place to start.
Amanda White is a singer and writer
in the Boston area. She graduated from
Boston Conservatory, took classes at
Longy School of Music, and has seen
many performances at New England
Conservatory. She can be reached at
www.notjustanotherprettyvoice.com.
Bringing the Greater Boston
Classical Singing Community Together
•
•
•
•
•
•
www.BostonSingersResource.org
Participate in BSR Annual Auditions
Receive daily audition/job notices
Browse career links and resources
Search musician profiles
Promote events in our eCalendar
Advertise your teaching studio
•
978-352-5058
Sing a Song of Boston
photo by J.
Is Beantown just a symphony and
museum town? Venerable opera
companies and myriad ensembles
say no!
Justin Bate
s
By Amanda Keil
Courtney Miller and Jonathan Stinson as
Sister Helen Prejean and Joseph De Rocher
in Boston Opera Collaborative’s production of
Jake Heggie’s Dead Man Walking, 2013
F
or a small city, Boston’s musical
life is proportionally large. While
much of the cultural focus does go
to the world-class Museum of Fine Arts
and the Boston Symphony Orchestra,
there is still plenty of audience to go
around. In fact, because major cultural
offerings are in relative short supply,
smaller groups and start-ups can attract
strong followings. From professional
opera companies and choruses to Early
music ensembles and new music groups,
singers of all disciplines will find a range
of places to distinguish themselves.
Boston Lyric Opera (blo.org)
has continued to thrive, despite the
unexpected bankruptcy of Opera Boston
last year. In addition to several mainstage
productions (this season sees Madama
Butterfly, Così fan tutte, and The Flying
Dutchman), BLO’s Opera Annex
offers more adventurous repertoire in
intimate spaces. That initiative includes
commissioned new works, such as the
U.S. premiere of Scottish composer
James MacMillan’s Clemency this season.
A select group of post-graduate and
post-Young Artist professionals perform
in these productions, as well as in
mainstage comprimario roles. BLO also
holds regular chorus and supernumerary
auditions.
Numerous
high-quality,
unpaid
opportunities abound for singers
seeking performance experience. Now
in its 75th year, making it the longest
continually performing opera company
in New England, Lowell House Opera
(lowellhouseopera.com) presents fully
staged and lit orchestra productions of
masterworks in a Harvard dining hall.
But an enormous army of volunteers
make this anything but a scrappy
operation, and auditions are open to
students and professionals from outside
the Harvard community. Repertoire is
always ambitious: this year’s production
was Britten’s A Midsummer Night’s
Dream, and past operas have included
Otello and Der Rosenkavalier.
Created to bridge the gap between
student and professional experiences,
Boston Opera Collaborative (bostonopera
collaborative.org) has drawn much
attention for its team spirit and highquality productions, including the New
England premiere of Jake Heggie’s
Dead Man Walking and thoughtful
repertoire works such as Janáček’s
The Cunning Little Vixen and Falstaff.
BOC members perform in frequent
recitals and mainstage productions, pay
annual dues, and contribute the many
hours of administrative and production
support needed to run the company. The
company is currently not accepting new
members (and has long been overflowing
with female singers), but still casts
nonmember men.
Just outside of town in Weston,
MetroWest Opera (metrowestopera.
org) presents an annual production of
standard repertoire (such as Carmen,
Don Giovanni, and Cendrillon) as well
as a competition for Young Artists and
high school students. Based in Needham,
another Boston suburb, Longwood
Opera (longwoodopera.org) has been
presenting Young Artists in operettas,
recitals, and English-language versions
of operas for nearly 30 years. This season
includes Ruddigore, The Elixir of Love,
and The Magic Flute.
During the otherwise opera-free
summer, Boston Midsummer Opera
(bostonmidsummeropera.org) presents
an annual production that features rising
young stars from the national scene as
well as some local singers. OperaHub
(operahub.org) is another youthful
company performing eclectic repertoire.
Committed to offering music free of
charge, their playful take on classics
have included an art song recital dubbed
“Goethe Your Hand Off My Heine”
and an interpretation (which I appeared
photo by Erik Jacobs
Kathryn McKellar, co-founder of
Opera on Tap Boston performs at
the Jacob Wirth Restaurant
photo by Scott Bump
Boston Lyric Opera Annex’s
production of The Lighthouse, 2012
in) of Monteverdi’s L’incoronazione di
Poppea with electronic instruments.
On the fun side of things, Opera on
Tap recently established an outpost in
Beantown
(operaontap.org/boston),
making it the 13th city in the boozy
network that brings arias to bars.
They make their home every second
and fourth Saturday at Jacob Wirth’s,
Boston’s theater district beer garden
known for its popular sing-a-longs to
rock-n-roll oldies! (jacobwirth.com)
The Boston Early Music Festival is
perhaps the highest profile institution
that contributes to Boston’s reputation
as one of America’s leading Early Music
cities (bemf.org). The biennial festival
draws fans and performers from around
the world for an intensive week of
concerts, exhibitions, and masterclasses,
culminating in an operatic centerpiece
in full Baroque splendor. Newcomers
to Early Music can get a crash course
simply by spending some time at the
festival, held this year from June 9-16,
and rising professionals can present their
own performances as a BEMF fringe
event.
Apart from the festival, BEMF
produces an annual chamber opera and
concert series in Boston and New York,
featuring world-renowned practitioners
Juventas Opera Project’s 2011
production of The Fiddler and the
Old Woman of Rumelia
in the field. The operas have featured
Boston-based singers, and the festival has
proved instrumental to cultivating some
of their careers. BEMF holds periodic
vocal auditions and recently launched
a Young Artist Program for singers age
18-27. In one of the few such programs
devoted to early opera, selected singers
form the ensemble for the mainstage
opera.
The Handel and Haydn Society
(handelandhaydn.org), or H&H as it’s
known locally, gave the United States
premiere of Handel’s Messiah in 1818
and is celebrating its bicentennial
season in 2014-15. The ensemble
performs
exclusively
on
period
instruments and expects a good
deal of stylistic knowledge from its
musicians. Repertoire includes Baroque
touchstones such as the Bach B Minor
Mass and, of course, an annual Messiah.
H&H holds annual auditions (although
their roster runs deep), and ensemble
members have been known to rise
through the ranks to become soloists.
Competing for the Messiah audience is
Boston Baroque (bostonbaroque.org),
which also presents several vocal works
each year, including concert versions of
operas. They also hold regular auditions
for singers.
These institutions tend to draw
from an overlapping pool of local
performers, many of whom also appear
in other smaller ensembles in town. The
well regarded Blue Heron ensemble
(blueheronchoir.org) specializes in a
cappella music from the 15th and 16th
centuries. Exsultemus (exsultemus.org)
began as a small Renaissance choir and
has since ventured into Baroque cantatas
and other chamber music. Cambridge
Concentus
(cambridgeconcentus.org)
is a close-knit chamber orchestra that
presents masterpieces and lesser known
Baroque works, such as the Monteverdi
Vespers and an excerpt from a rarely
heard Biber opera.
The venerable Boston Camerata
(bostoncamerata.com), which
has
been a force on the Early Music scene
for much of the early music revival,
presents well researched chamber
programs of medieval, Renaissance,
and Baroque music, much of it vocal. I
performed a semi-staged version of the
medieval story of Tristan and Isolde,
and recent shows include programs of
early American music. The Camerata
frequently tours nationally and abroad
and also offers a well loved concert
series in Boston. All of these ensembles
occasionally seek out singers via
Boston Moder
ing session.
es for a record
oject prepar
n Orchestra Pr
auditions but generally work from a
roster of colleagues.
With so much early music, it is ironic
that Boston does not have a standing
Baroque opera company. Launched in
2011, Helios Early Opera (heliosopera
.com) fills that gap by producing lesser
known early works in modern stagings.
So far they have presented three operas
by Charpentier, Telemann, and
Cavalli, attracting performers from
far and wide.
Boston’s brainy audiences
have an appetite for new music
as well as old, and several
energetic companies attract a
loyal following. Boston Modern
Orchestra Project (bmop.org)
is Boston’s leading orchestra
devoted to contemporary music.
Vocal works are regularly part
of the concert programming,
though the singers hired tend to
be established performers on the scene.
Still, it pays to get to know their concert
series to learn about important composers
and new works, from the Boston area and
beyond.
By performing exclusively newly
commissioned chamber operas, Guerilla
Opera (guerillaopera.com) is dedicated
to both cultivating a new generation of
opera composers and redefining the
opera experience for the audience. The
five-year-old company is comprised of
a tight-knit ensemble—too cool for a
conductor—but they regularly invite guest
artists to round out the cast. Repertoire
highlights include No Exit (based on the
Sartre play) by Andy Vores, Heart of a
Dog by Rudolf Rojahn, and Say It Ain’t
So Joe by Curtis K. Hughes, which was
based on the 2008 Palin-Biden debates
(and I also performed in that production).
Juventas New Music Ensemble
(juventasmusic.com) is devoted to
performing repertoire by composers
under the age of 35, including a fully
staged operatic premiere every season.
Recent premieres include the first Kung
Fu opera and a program of opera scenes
that incorporated a Halloween costume
contest. Like Guerilla Opera, they are
based at Boston Conservatory and
have cultivated their own community
of contemporary music experts and
aficionados.
It takes more than just determination to be a performer.
It takes more than just practice.
You need someone who cares, a community that undestands.
You need mentorship and guidance, someone to say,
“Try that again, but this time...”
At The Boston Conservatory,
we have faculty to guide you, programs to support you,
and a community of students and teachers who
understand not only what it means to be a performer,
but also what it takes.
This is The Boston Conservatory community.
Prepared to perform.
A P P LY B Y D E C E M B E R 1
w w w . b o s t o n c o n s e r v a t o r y . e d u / a p p l y
While not a professional ensemble,
the high-caliber Tanglewood Festival
Chorus (access via bso.org) provides a
remarkable opportunity to perform great
music with world-renowned artists. TFC
is the symphonic choir for the Boston
Symphony Orchestra, which is one of
only two orchestras in the country to
use volunteers in this role. In addition
to performing at the Tanglewood
Festival each summer, TFC frequently
appears on the BSO and Boston Pops
subscription concerts, including the
occasional international tour, recordings,
and a cappella concerts. While the roster
numbers some 300 singers—some of
whom have been there for decades—
TFC still holds periodic auditions and
welcomes new members. If you can make
the time commitment, it’s one of the best
gigs in town.
Several recital series welcome ideas
for programs under an hour in length
and regularly present singers. The
lovely Taylor House Bed and Breakfast
in Jamaica Plain features local talent,
including classical and jazz acts
(taylorhouse.com/musicandart/index
.htm). The Church of Saint John the
Evangelist presents a weekly series on
Wednesdays at 5:30 p.m. (stjev.org/
WednesdayConcerts.html) and King’s
Chapel, which predates the American
Revolution, holds midday concerts
on Tuesdays (kings-chapel.org/tuesdayrecitals.html).
Musical theatre singers won’t find
as many professional opportunities in
Boston as in New York, where casting
for national Broadway tours takes
place, but New England Theater 411
(netheater411.com) gathers information
about various auditions in the area. Boston
Singers’ Resource (bostonsingersresource
.org) is a subscription service for auditions
of all sorts, with numerous other
programs to assist singers at different
levels of their careers. BSR hosts
auditions for representatives from opera,
chorus, church, chamber, and orchestra
groups to screen local talent, offers health
care and discounts to its members, and
recently established the Boston Singers’
Relief Fund to see performers through
job loss, illness, and other life events.
Between the established companies
and the newer ones, an eager audience
and a self-replenishing supply of student
energy, you could do worse than to bring
your singing to the City on the Hill. As
is always the case, competition exists for
a limited number of opportunities—but
persistent singers can find their niche
and some warm colleagues along the
way. Or, like many before them, they can
launch their own project and add even
more diversity to Boston’s burgeoning
scene.
Amanda Keil’s bio can be found
on p. 21.
America’s Walking City
By Amanda Keil
Springtime in Boston means bikes, parks, and good times.
Discover a whole host of things to see and enjoy while visiting
the city for this month’s Classical Singer Convention.
Top: Boston Public Library
Middle: Longfellow Bridge
Bottom: Boston’s Public Garden
Boston Light Blades
M
ay is an easy time of year to fall in love with the
Athens on the Charles: think blue and gold
weather, farmers markets, and gardens in bloom.
The standard tourist destinations—such as the downtown
mall and food court at Faneuil Hall and Quincy Market, and
the historically Italian North End—are pleasing enough to
visit. But Boston’s delights are best revealed serendipitously.
Sure, you can tramp the Freedom Trail or catch the Red
Sox at Fenway Park, but also take some time to seek out the
hidden treasures of one of America’s oldest cities.
After bulldozers finished burying the interstate during
Boston’s infamous Big Dig, the city turned what used to be
unsightly highways into pleasant green spaces. The Rose
Kennedy Greenway (rosekennedygreenway.org) snakes
through Chinatown, the waterfront, and up to the North
End—it features fountains, organic gardens, public art, and
free Wi-Fi! You could easily spend a day meandering from
park to park or cruise through on two wheels from one of
Boston’s new city bike rental stations (thehubway.com). The
nation’s craze for food trucks has come to Boston, and the
Greenway is the best place to find tacos, Vietnamese food,
barbecue, and more.
Several detours along the Greenway make memorable
GeorgeMauroAd_Layout 1 4/2/13 11:38 AM Page 1
visits.
While the North End can be a tourist nightmare in
warm weather, it is still
a treat to dig into a
cannoli from Mike’s
Pastry (300 Hanover
Street, mikespastry.
com) and imagine
Paul
Revere’s
revolutionary
“One If by Land,
Two If by Sea”
hijinks at the Old
North Church (193
Salem Street, oldnorth.
com). If sharks, seals, and
penguins are your thing, the New
England Aquarium (neaq.org) is one of the world’s leading
institutions for marine conservation and it set a standard for
aquarium design. The cost of admission is lower while the
building is under renovation until July 2013, but most of the
exhibits are not affected by the construction.
Just south of the aquarium and across from the
Greenway’s “Urban Arboretum” is the Evelyn Moakley
Bridge, which offers stunning views of the seaport and entry
to the Fort Point neighborhood. Once a gritty outpost, Fort
“REVELATIONS”
ON DELOS
DONALD GEORGE & LUCY MAURO
“The revelation of the year!” –
2011 Recording of the Year,
MusicWeb International
All scores for both volumes available on the DE 3407
companion CD-R and for download on the Delos website
DE 3407
Songs of Margaret Ruthven Lang (1867-1972)
“Each of the songs is carefully considered
and wrought in gracefully sunlit shades of
romantic twilight … Donald George’s sweet
tenor, partnered sympathetically by Lucy
Mauro, captures the modest charm and lyrical
flavour of Lang’s music” – Gramophone
DE 3410
The premiere recording of the vibrant and
engaging art songs of Mathilde von Kralik
(1857-1944). These inspired performances
will convince you that her meticulously
crafted, highly original and startlingly
beautiful music deserves to be ranked
alongside that of much better known Lieder
composers of her day.
DE 3424
DELOS PRODUCTIONS, INC.
(800) 364-0645 • www.delosmusic.com
[email protected]
http://delosmusic.com/lang
Point now boasts attractive restaurants,
a thriving art scene, and Boston’s
innovative
new
building
most
in recent years, the Institute of
Contemporary Art (100 Northern
Ave., icaboston.org), designed by
the multi-disciplinary architect firm
Diller Scofidio + Renfro. Even if you
take a pass on the ICA’s impressive
exhibitions, the museum’s translucent
façade and stunning waterfront
location make it worth the hike. Find
the ICA via the Boston Harbor Walk
(bostonharborwalk.com) lined with
native plants and interpretive panels
about Boston’s seafaring history. Be
soothed by waves lapping the shore as
you hop over huge breakwater stones
and watch seabirds diving for fish.
The harbor walk is best explored
with a picnic from the Italian lunch
counter Sportello (348 Congress St.,
sportelloboston.com) or sandwiches
from Flour Bakery + Cafe (12
Farnsworth St. and others, flourbakery.
com). Set right on the water, The
Barking Crab brings the atmosphere
of a Cape Cod clam shack right into
downtown (88 Sleeper St., barkingcrab.
com). If you’re still in the neighborhood
in the evening, mixologists at the bar
Drink will create custom cocktails
based on your favorite flavors (348
Congress St., drinkfortpoint.com).
Left: Flour Bakery
Right: Boston Symphony Orchestra
Boston is known for its world-class
cultural institutions that somehow
inspire intimate, personal connections
with their audiences. The venerable
Boston Symphony Orchestra, for
example, switches to lighter fare during
the spring. If it suits your taste, drop by
Symphony Hall (301 Massachusetts
Ave., bso.org) to catch Megan Hilty
from Smash singing with the Boston
Pops. It’s worthwhile to pay a visit to
the BSO’s home for its shimmering
acoustics and balconies full of replicas
of classical statues. While you’re in the
neighborhood, take a look across the
street at the Christian Science Mother
Church (christianscience.com/churchof-christ-scientist/the-mother-churchin-boston-ma-usa), headquarters to one
of New England’s own homegrown
religions and the Christian Science
Monitor. In addition to the striking
plaza, a visit to the HQ features the
memorable Mapparium, where you can
stand inside a glass globe of the world.
Just down the road from Symphony
Hall is the main auditorium at the
New England Conservatory, the
gorgeous Jordan Hall (290 Huntington
Ave., necmusic.edu). A Far Cry—the
youthful Boston-based, conducter-less
string orchestra—performs there on
May 24 (afarcry.org).
In addition to the symphony, the
other dominant institution on Boston’s
cultural scene is the Museum of Fine
Arts (465 Huntington Ave., mfa.org).
Visit the recently expanded Art of the
Americas wing for everything from
Mayan ceramics to portraits of the
society leaders who made Boston the
“hub of the universe.” Just down the
road from the MFA but evocative of
worlds away is the uniquely Boston
Isabella Stewart Gardner Museum
(280 The Fenway, gardnermuseum.
org). Inside the Venetian-style palazzo
you’ll find a conservatory garden of
tropical plants and a collection of fine
and decorative arts, hand-picked by
the city’s foremost patron of the arts.
Admission is free to anyone named
Isabella.
Another totem of Boston culture and
an impressive architectural treasure is
the main branch of the public library.
The historic McKim building of the
“palace for the people” evokes elements
from classical French and Italian
architecture and includes an open-air
courtyard in the style of a Renaissance
palazzo (700 Boylston St., bpl.org/
central/walkmckim.htm). Not to be
missed is the series of murals by the
great portrait artist John Singer Sargent
(sargentmurals.bpl.org), his
most
ambitious mural commission. Entitled
Triumph of Religion, the work came
to be known as the “American Sistine
Chapel,” but for the glorification of
education and learning.
The library is one of the
institutions that characterizes Copley
Square, Boston’s most iconic plaza
(friendsofcopleysquare.org).
The
spectacular Trinity Church features
recently restored stained glass windows
designed by pre-Raphaelite artist
Edward Burne-Jones and American
painter and muralist John LaFarge (206
Clarendon St., trinitychurchboston.
org/art-history/windows-slideshow).
A terrific farmer’s market comes to
the square each Tuesday and Friday
beginning in May.
They don’t call Boston the walking
city for nothing. In just an hour or two
you can take in some of the prettiest
parts, with excursions to unique sites
“Boston is known for its world-class cultural institutions that
somehow inspire intimate, personal connections with their
audiences. The venerable Boston Symphony Orchestra, for
example, switches to lighter fare during the spring.”
along the way. A good place to start is
on the Boston Common, where you can
also pick up the start of the Freedom
Trail. Opposite the lofty Massachusetts
State House is the powerful frieze by
Augustus St.-Gaudens, commemorating
the first black regiment of the civil war
(nps.gov/boaf/historyculture/shaw.htm).
From there walk through the
Common to the Public Garden,
the jewel in the city’s Emerald
Necklace Conservancy, a string of
green spaces that stretches for seven
miles (emeraldnecklace.org). Take
a gander (pardon the pun) at the
famous swan boats and the Make
Way for Ducklings statues. From
here you can poke your head into the
original Cheers bar (84 Beacon St.,
cheersboston.com) across the way
or stroll down Charles St. to soak in
Beacon Hill, one of Boston’s stateliest
neighborhoods. If you go that route,
hike up the hill to Secretary of
State John Kerry’s house—a former
convent—at 19 Louisburg Sq. Back
by the Public Garden, on the corner
of Boylston St. you will find the
Arlington Street Church, a hidden gem
full of resplendent Tiffany windows
(ascboston.org/about/building.html).
The Public Garden makes a good
launch pad for exploring Newbury St.,
traditionally the most fashionable strip
to shop in town. Tucked among the
luxury boutiques and designer stores
are some of Boston’s best vintage shops,
such as Second Time Around (176 and
219 Newbury St., secondtimearound
.net), The Closet (175 Newbury
Street, blog.closetboston.com/) and
newcomer Rescue (297 Newbury
St., rescuebuyselltrade.com). From
Newbury St., turn right and after one
block find Commonwealth Ave. (or
Comm. Ave., as it’s always called)
where you can continue your stroll
through streets lined with elegant
Victorian
mansions,
flowering
magnolias, and a wide grassy mall at its
center.
The best skyline view is found from
the Mass. Ave. Bridge, on the way
to Cambridge. (Go local and don’t
call it Massachusetts Avenue!) From
Comm. Ave., take a right onto Mass.
Ave. to fortify yourself with a sugar
bomb from Sweet cupcakes (49 Mass
Ave., sweetcupcakes.com). Follow
Mass. Ave. and the increasing breeze
off the Charles River to enjoy the
view of sailboats and sunshine over
Boston’s Back Bay. Keen boaters can
even rent kayaks and canoes to see the
city from the water (various locations,
paddleboston.com).
Along the way you’ll notice odd
markings that indicate the bridge’s
length in “smoots.” This was once an
MIT prank, in which fraternity brothers
coerced a pledge—one rather short
Oliver R. Smoot—into lying down again
and again to measure the bridge with
his body. The joke had traction, and the
smoot is now considered a nonstandard
unit of length.
If your feet get tired, hop a Mass.
Ave. bus to Central Square, the
bustling downtown of the City of
Cambridge. Some leading restaurants
of the Boston area’s locavore movement
are
found
here,
such
as
Rendezvous
(502
Mass.
Ave.,
rendezvouscentralsquare.com) and the
ever-packed Craigie on Main (853 Main
St., craigieonmain.com). If you can’t
get a table at either place, drown your
Left: MIT’s Stata Center
Right: Runners from all over the world compete
every April in the Boston Marathon.
sorrows in Boston’s best ice cream at Toscanini’s (899 Main
St., tosci.com) and try your luck at Cuchi Cuchi (795 Main St.,
cuchicuchi.cc), which features inventive small plates, festive
cocktails, and wait staff in flamboyant costumes.
If you have more appetite for Cambridge, you’ll want to
pay a visit to Harvard Square. Spend some time soaking in
the atmosphere—and dodging the tourists—around Harvard
Yard, the heart of the university’s old campus. Crowds fill
the Harvard Coop, but the real independent bookshop is
the Harvard Book Store (1256 Mass. Ave., harvard.com).
There you’ll find a thoughtful and diverse selection, including
gently priced used books in the basement. True bookworms
will linger at Grolier Poetry Bookshop, (6 Plympton St.,
grolierpoetrybookshop.org) which claims to be the
country’s oldest continually operating bookshop devoted
exclusively to poetry.
It’s always exciting to see what’s going on at
American Repertory Theater (64 Brattle St.,
americanrepertorytheater.org) whose innovations in
straight and musical theatre consistently draw national
attention. Afterward try some single-source hot chocolate
at Burdick Café (52 Brattle St., burdickchocolate.com/storesand-cafes-cambridge.aspx) or pick up a souvenir box of their
signature chocolate mice (made with pure chocolate—not
mice).
If you happen to run out of things to do, you can always find
more ideas in the Boston Phoenix (pick up a free copy around
town or go to thephoenix.com) or visit the ArtsBoston kiosk
on Copley Square for information and discounts on cultural
events (artsboston.org). But with America’s walking city right
at your doorstep, good times practically come find you.
Amanda Keil’s bio can be found on p. 21.
convention
May 23-26, 2013, The Westin Boston Waterfront
11 Voice & Opera faculty-artists
3 fully-staged productions each year
Countless performance opportunities
One shared passiOn
Eastman Opera Theatre performing La Finta Giardiniera
esm.rochester.edu/apply
convention
May 23-26, 2013
photo: chiaNaN YeN
The Westin Boston Waterfront
Vocal
Performance
music and perfo rmi ng arts pro fess i o n s
William Wesbrooks, Director of Vocal Performance
Classical Voice and Music Theatre
Contents
Welcome................................................60
B.m., m.m., ph.D.
Vocal Pedagogy
advanced certificate
both a vocal technique and a foundation in
acting, allowing you to explore a career encompassing
all areas of vocal performance.
Getting to the Hotel................................62
Hotel Maps............................................63
New York UNiversitY is aN affirmative actioN/eqUal opportUNitY iNstitUtioN.
develop
experience working with teachers, directors, conductors,
and coaches from the richest resources of New York city’s
world of professional music performance.
the complete performer as you enhance your
studies with academic courses and electives in areas
including dance, music education, music technology,
and music business.
Thank You to Our Sponsors...................66
High School Events Schedule.................68
High School Masterclass Descriptions.....72
become
Also: summer workshop in music theatre: July 1–18, 2013
summer classical voice intensive: July 22–august 8, 2013
visit www.steinhardt.nyu.edu/2013voice or
call 212 998 5154.
University and Young Artist
Events Schedule...................................80
Young Artist Series Class Descriptions....85
Young Artist Series Presenters.................86
BRIAN ZEGER, Artistic Director
Juilliard
OPERA
ELLEN AND J.AMES S. MARCUS
INSTITUTE FOR VOCAL ARTS
Juilliard Develops the Complete Singer
Presents singers in leading roles to the global community
Mentors artists, with introductions to management and opera companies
Provides
intensive dramatic training with extraordinary faculty and teaching residencies by artists such as
Sir Thomas Allen, Joyce DiDonato, Renée Fleming, and Renata Scotto
Juilliard.edu/vocalarts
Juilliard Opera and Pre-Professional degree programs offer Full-Tuition Scholarship plus Stipend • Apply by November 1
Juilliard Graduate and Undergraduate degree programs • Apply by December 1
Juilliard.edu/apply
Juilliard Opera production of Mozart’s Don Giovanni, directed by Stephen Wadsworth, photo by Nan Melville
The Ohio State University School of Music is pleased to announce
the permanent appointments of
Katherine Rohrer, Mezzo-soprano, assistant professor of voice
and
A. Scott Parry, director of opera
Ohio State Voice Faculty
Loretta Robinson, Area Head
Ed Bak, Coach/Collaborative Pianist
C. Andrew Blosser
Scott McCoy
A. Scott Parry
Tamara Regensburger
Robin Rice
Katherine Rohrer
C. Patrick Woliver
View our calendar of concerts, events, and auditions at
music.osu.edu
Attend the Master Class with Scott Skiba,
Instructor of Voice & Opera Theater, on Friday,
May 24 at 7:30 p.m. in the Hancock Room.
In addition, auditions for Interlochen will be
held on Sunday, May 26.
I am ...
a musician
skilled
creative
driven
expressive
... an artist
Visit the Interlochen Booth or
email [email protected]
for more information.
FINE ARTS BOARDING HIGH SCHOOL
Grades 9-12 • September – May
academy.interlochen.org
Selecting the Right School
Welcome from the Publisher
Welcome singers to the annual Classical Singer Convention!
I look forward throughout the year to this energizing and unique vocal weekend! What an inspiring time this is to see
literally hundreds of dedicated, talented, and aspiring singers perform and achieve greatness.
#AchieveGreatness—Six months ago I didn’t even know what a “hashtag” was. But luckily my staff does and they’ve
tried teaching me about this Twitter phenomenon. That’s because over the past year AuditionsPlus.com has used this hashtag as a
motto for our singers and our company. When you get to the heart of it, that’s our goal—we want to help you achieve greatness.
And that’s what so many singers are doing this weekend through the Auditions Plus Vocal Competition, the Young
Artist Series (YAS), and the Audition Feedback Experience (AFE).
They are here to achieve greatness.
More than 1,300 singers participated in the First Round of the Competition, and the top 500 advanced to the Second
Round here in Boston. The field will eventually be whittled down to the top 10-15 singers on Sunday and we’ll hear the First
Place winners perform at the Winners Concert. We’ll also see dozens of scholarships awarded. But more impressively, we’ll hear,
see, and experience greatness from these high school, university, and young artist level singers.
But greatness isn’t just reserved for the bright lights of the stage. Greatness can be achieved in any performance, no
matter the size of the audience. The participants of the more than 45 masterclasses at the Convention will tap into greatness, as
will those that sing in the AFE auditions.
Besides the hundreds of classical and musical theatre singers, we welcome the exhibiting schools and summer
programs—more than 70 in total. We welcome and sincerely thank their faculty who adjudicate the Competition, conduct High
School masterclasses, and man their College Expo recruiting tables.
We welcome the YAS presenters Ana De Archuleta and Laurie Rogers. Ana De Archuleta, through her company ADA
Artist Management, has established herself as one of the most sought after managers by aspiring young artists. Laurie Rogers is the
Director of Young Artist Programs for Opera Saratoga and is currently as assistant conductor at the Dallas Opera as well as on the
music staff at San Francisco Opera.
Yes, greatness will be achieved this weekend; greatness that I hope will lead to even bigger and better things for your
singing future.
Enjoy the moments that make up the journey.
Go #AchieveGreatness!
David Wood
Publisher
Classical Singer & Auditions Plus
Are you singing with your
WHOLE VOICE?
r our
Look fo e 2013
t th
booth a l Singer
a
Classic tion!
Conven
Attend a
Hennessy Whole Body Voice
WORKSHOP
Have you ever thought that there was MORE
to your voice than you currently enjoy?
MORE power
MORE ease
MORE consistency
MORE flexibility
Attend a workshop in NYC or schedule one for
your university or organization and learn to:
release misplaced tension
align your body more optimally
engage your support more deeply
HennessyWholeBodyVoice.com
Try our
Voice at the Center
DVD
WHAT’S INSIDE THE DVD:
Over 2 hours of exercises and instruction
An easy-to-use Self-Assessment,
so you know where you need to work
Simple exercises to release tension,
improve alignment, and energize the core
Breathing exercises to improve the
connection of the breath to your sound
An animated 3-D Glossary of Muscles,
to enhance your understanding
VoiceAtTheCenter.com
Getting to the Hotel
All events will be held at the Westin Boston Waterfront.
The Westin Boston Waterfront
425 Summer Street
Boston, MA 02210
(617) 532-4600
www.westinbostonwaterfront.com
By the Subway, The “T”
• The hotel is on the MBTA Silver Line at the World Trade Center stop.
• The Silver Line is accessed via the Red Line at South Station.
• Once at the World Trade Center stop, proceed 2 levels up to the Mezzanine level.
• The hotel is located at the end of the foot bridge on Summer Street, next door to the Boston Convention
and Exhibition Center.
From East
• Follow signs out of Boston Logan Int’l Airport to I-90 West/Massachusetts Turnpike West by way of Ted Williams Tunnel.
• Take Exit 25 to South Boston.
• Keep right at the fork and exit onto Congress Street.
• Turn right on D Street.
• Turn right on Summer Street and the hotel is on the left.
From North
• Take I-93 South to Exit 20A towards South Station.
• Turn left at the light onto Summer Street.
• The hotel is approximately 0.7 miles ahead on the right, just past the convention center.
From West
• Take I-90 East to Exit 24A (South Station).
• Go straight onto Atlantic Avenue.
• Turn right onto Summer Street.
From South
• Take I-93 North to Exit 20 (South Station).
• Turn left at the end of the ramp onto Kneeland Street.
• Take the 2nd left onto Atlantic Avenue.
• Turn right onto Summer Street.
Hotel Maps
Convention Registration
(One floor above Concourse Level)
Looking for Warm-Up Rooms?
All warm-up rooms are located on the Mezzanine Level, one floor above the Lobby Level.
All warm-up rooms are marked with schedules and rules.
Please Join Us for a Masterclass with
Angela Gooch, Director of Voice at Walnut Hill School for the Arts
Sunday, May 26, 2013, at 10:00am
Otis Room, Westin Waterfront Hotel, Boston, MA
CLASSICAL.WALNUTHILLARTS.ORG | 508.650.5020
12 Highland St. | Natick, MA | 01760
ADMISSION/AUDITION
INFORMATION
Cassandra Jackson
225-578-4517
[email protected]
Louisiana State University
offers Bachelor of Music,
Master of Music, and
Doctor of Musical Arts degrees
in performance, and the
Bachelor of Music Education
with voice concentration
Dugg McDonough
artistic/stage director
Michael Borowitz
music director
Robert Grayson
tenor
voice/opera division chair
Loraine Sims
soprano
voice coordinator
Lori Bade
mezzo-soprano
Dennis Jesse
baritone
Terry Patrick-Harris
mezzo-soprano
pictured: The New Moon (2012)
music.lsu.edu/opera
225-578-3261
Thank You to Our Sponsors
Special thanks to all of our First Round host schools and the
following cash prize sponsors:
Opera. Redefined. Reimagined.
Il matrimonio segreto by Domenico Cimarosa
At Colorado State University vocal creativity and growth
are supported, while high standards of scholarship and
performance are developed.
Within the exquiste University Center for the Arts, the Ralph
Opera Center produces two fully staged productions with orchestra
each year, while providing professional development opportunities
and a broad scholarship support system for students studying
vocal performance.
The CSU Choirs are nationally and internationally established through high
profile performances and travel.
● Ample performing opportunities for undergraduate students.
● Leadership roles/Opera Fort Collins Apprentice Artist program available to graduate students.
● Prestigious national rankings with Kiplinger’s Personal Finance, Forbes, Princeton Review, and U.S. News
and World Report.
● Fort Collins is consistently ranked as the nation’s best place to live, including rankings by Money Magaine
and National Geographic.
● Information/Visit & Audition Dates: music.colostate.edu or call (970) 491-5529.
High School Events Schedule
Friday, May 24
9:00 a.m. - 6:00 p.m.
Convention Registration Desk Open
Commonwealth Foyer
10:00 a.m. - 2:30 p.m.
High School Classical and Musical Theatre Competition,
Boston Region First Round
Commonwealth A, C
10:00 a.m. - 6:00 p.m.
Exhibitor Hall Open
Grand Ballroom C-E
3:00 p.m. - 4:00 p.m.
High School Masterclasses
Chicago College of Performing Arts/Roosevelt University
Ohio State University
Shenandoah University
4:30 p.m. - 5:30 p.m.
Brigham Young University
Cleveland Institute of Music
Olivet Nazarene University
University of Michigan
Grand Ballroom A-B
Commonwealth C
Commonwealth A
Hancock
Grand Ballroom A
Commonwealth C
Commonwealth A
6:00 p.m. - 7:00 p.m.
7:30 p.m. - 8:30 p.m.
Oklahoma City University
Temple University
University of South Carolina
University of North Texas
University of Alabama
Carnegie Mellon School of Music
Interlochen Center for the Arts
New York University
Northwestern University
Tulane University
Webster
Hancock
Grand Ballroom A-B
Otis
Stone
8:30 p.m.
High School Classical and Musical Theatre Competition
Boston Region First Round Finalists Announced
Concourse Level
Commonwealth A
Commonwealth C
Grand Ballroom A-B
Hancock
Quincey
Comment sheets from today’s competition will be available tomorrow in Grand Ballroom C-E.
Saturday, May 25
9:00 a.m. - 6:00 p.m.
Commonwealth Foyer
10:00 a.m. - 6:00 p.m.
Exhibitor Hall Open
Grand Ballroom C-E
10:00 a.m. - 11:00 a.m.
High School Masterclass
The Juilliard School/New England Conservatory
Grand Ballroom A-B
10:00 a.m. - 2:30 p.m.
High School Musical Theatre Competition, Second Round
Revere
10:00 a.m. - 7:00 p.m.
High School Classical Competition, Second Round
Hancock, Otis, Stone, Webster
3:00 p.m. - 4:00 p.m.
Binghamton University/Tri-Cities Opera
Colorado State University
Converse College
Commonwealth C
Revere
Grand Ballroom A-B
4:30 p.m. - 5:30 p.m.
Ithaca College
Oberlin College
Westminster College
Commonwealth C
Grand Ballroom A-B
Revere
6:00 p.m. - 7:00 p.m.
The Boston Conservatory
Lawrence University
University of Iowa
Grand Ballroom A-B
Commonwealth C
Revere
7:30 p.m. - 8:30 p.m.
DePauw University
Revere
Eastman School of Music
Grand Ballroom A-B
Rutgers
Commonwealth C
Shorter University
Commonwealth A
University of Hartford
Otis
University of Toledo
Stone
Viterbo University
Webster
8:30 p.m.
High School Classical and Musical Theatre Competition
Second Round Finalists Announced
Concourse Level
Comment sheets from today’s competition will be available tomorrow at the Registration Desk.
Sunday, May 26
9:30 a.m. - 6:00 p.m.
Commonwealth Foyer
9:30 a.m. - 10:30 a.m.
High School Musical Theatre Competition, Semifinal Round
Commonwealth A
9:30 a.m. - 1:30 p.m.
10:00 a.m. - 11:00 a.m.
11:30 a.m. - 12:30 p.m.
High School Classical Competition, Semifinal Round
Grand Ballroom A-B
Boston University
Hofstra University
Palm Beach Atlantic University
Walnut Hill School for the Arts
Paine
Revere
Hancock
Otis
Pepperdine University
San Francisco Conservatory of Music
University of Minnesota
Hancock
Otis
Revere
Paine
1:00 p.m.
High School Musical Theatre Competition Finalists Announced
Concourse Level
1:00 p.m. - 2:00 p.m.
California State University–Los Angeles
Southern Methodist University
Hancock
Otis
2:15 p.m.
High School Classical Competition Finalists Announced
Concourse Level
2:30 p.m. - 3:30 p.m.
High School Musical Theatre Competition, Final Round
Grand Ballroom A-B
3:30 p.m. - 4:30 p.m.
High School Classical Competition, Final Round
Grand Ballroom A-B
7:00 p.m. - 9:00 p.m.
Winners Concert
Winners from all divisions will be announced, scholarships will be
awarded, and First Place winners will perform.
Grand Ballroom A-B
Comment sheets from today’s competition will be available at the Registration Desk;
remaining sheets will be mailed back to participants.
A highly competitive program
combining rigorous performance
and academic opportunities with a
nurturing atmosphere
Fully staged operatic productions
Baroque ensembles and opera
New Music Ensemble
Musical Theatre Workshop
Visiting artist master classes
Where it all begins.
VOICE FACULTY
Sylvia Anderson
Catherine Cook chair
Patricia Craig
Pamela Fry
Leroy Kromm
130329_Classical_SingerAD21.indd 1
OFFICE OF ADMISSION
Daniel Mobbs
Ruby Pleasure
Jane Randolph
César Ulloa
800.899.SFCM
[email protected]
www.sfcm.edu
3/27/13 4:24 PM
THE GRADUATE
VOCAL ARTS PROGRAM
THE BARD COLLEGE CONSERVATORY OF MUSIC
A unique two-year master of music program,
conceived, designed and led by renowned
American soprano Dawn Upshaw.
Dawn Upshaw, Artistic Director
Kayo Iwama, Associate Director
voice
Edith Bers, Patricia Misslin, Lorraine Nubar
diction and phonetics
Erika Switzer
acting workshop
Lynn Hawley
movement
Amii LeGendre
career workshop
Carol Yaple
alexander technique
Gwen Ellison, Alexander Farkas
WWW.BARD.EDU/CONSERVATORY/VAP/
[email protected]
845-758-7604
High School Masterclass Descriptions
High School Masterclasses are free for all High
School Competition participants and their parents.
Students can attend any classes they want; no preregistration is necessary. Students can volunteer to
sing at a masterclass by visiting the school’s table
in the Exhibitor Hall and filling out the sign-up sheet.
Schools may also accept volunteers at the beginning
of their classes.
Binghamton University/
Tri-Cities Opera
Preparing a Successful College
Audition with Thomas Goodheart
Once you have researched schools
and voice faculties, the way you prepare
for your audition will determine your
success. This masterclass will include
materials and discussion on choosing
the school that is right for you. You will
gain insight into what faculty members
look for at the audition and what they
write while you are singing. Three to
four students will then perform in a
masterclass setting with these criteria in
mind.
The Boston Conservatory
The Audition as Complete Performance
with Patty Thom
This masterclass with Patty Thom will
focus on those qualities of the audition
which lead to a musical and artistic
experience, both for the performer as well
as for the audience. Thom will discuss
dramatic choices, characterization,
translation and the interpretation of text
and poetry, physicalization, and making
expressive and stylistic vocal choices.
All auditions are a chance to perform
beautifully and express yourself fully.
Learn how to make that happen.
Boston University
“It’s a Different World Out There!” (or
Is It?): How the Singer’s World Has
Changed and How It Has Remained
the Same with James Demler
Assistant professor James Demler
of Boston University will discuss ways
to achieve success in the profession of
singing. What new “tools” must young
singers have to get ahead and stay ahead
as the landscape of singing seems to
be constantly changing and evolving?
And what are the older tools that have
to be honed to near perfection in order
to succeed in this very competitive
profession? Demler will give feedback
for individual singers and also lead
discussion on this topic.
Brigham Young University
The Think System: Did Harold Hill Have
It Right All Along? with J. Arden Hopkin
The Think System was part of Harold
Hill’s con in The Music Man, but research
shows that how you think affects your
singing. Come learn how to empty and
focus your mind and imagine your way
to beautiful singing. Learn inner-game
strategies for self-improvement using
mental imagery.
California State University–Los
Angeles
The 21st Century Singer—New Skills
for Success with Susan Kane
The new generation of classical singers
face more competition than ever before,
have more varied opportunities than ever
before and thus, require different skills
than ever before. This workshop will 1)
outline basic skills every classical singer
must possess, 2) present four distinct
career paths for classical singers today,
and 3) provide opportunities for each
participant to assess his or her aptitude
for each path.
Carnegie Mellon School of Music
Putting It All Together with Katherine
Drago & Maria Spacagna
The purpose of this class is to
provide the student with the proper
skills necessary for the development
of solid vocal technique. This includes
a discussion and demonstration of
correct posture, good breath support,
resonance, musicality, and strong
performance techniques. “Putting it all
together” is the goal.
Chicago College of Performing
Arts/Roosevelt University
If You Can Breath, You Can Sing! with
Mark Crayton
How often do we perform less than
our best because we run out of air?
We all know that relaxed breathing
is fundamental to good singing and
performing. But how do we get there?
Join Roosevelt University Chicago
College of Performing Arts’ Mark
Crayton for a class on finding your
optimal breath. Sign up to sing at the
class at the CCPA table!
Cleveland Institute of Music
Finding Your Most Beautiful Tone with
Mary Schiller & Dean Southern
One of the very first things those
listening to your voice notice is the
quality of your vocal tone. As singers
present either arias or art songs,
suggestions will be given to help improve
their tone quality. Topics covered will
include posture, alignment, breath
management, diction, musical phrasing,
interpretation, and communication.
Mentally imagining your best sound will
also be discussed and encouraged.
Colorado State University
Body
Awareness
and
Breath
Management with Susan Hochmiller Marx
Learn to recognize the ways in which
physical alignment and habituated
movements can affect breath management
in singing. Utilize techniques to free the
body of physical tension and discover a
greater connection to breath energy.
Converse College
To Belt or Not to Belt . . . That Is the
Question! with Anne Denbow
This will be a masterclass on a healthy
approach to belting for classically
trained singers (or anyone else, for that
matter). A physiological discussion
will be followed by applied application
sessions with participating students
to their musical theatre repertoire. An
accompanist will be provided.
DePauw University
Discover DePauw—Be Heard with
Caroline Smith
Through this masterclass with
voice professor Caroline Smith, you
will discover the gem that is DePauw
University. Smith will work with
individual students on their prepared
repertoire, and host a question and
answer session regarding DePauw and
its advantages for undergraduate singers.
Don’t miss the opportunity to learn
about this prestigious program that is
an integral part of the highly touted
liberal arts environment DePauw
affords solely for the undergraduate
student.
voice works and how to successfully
access the upper third of their range
with very specific exercises. Singers
will be invited to participate in the
class after the lecture.
Hofstra University
The ABCD’s of Singing Legato with
Tammy Hensrud
“Aggressive amplitude,” “blowing
of breath,” “consonant clusters,”
“disappearing diphthongs,” and falling
off the resonant shelf—these are all
impediments to legato singing. We will
explore how to maintain a truly beautiful
legato line. German, Italian, French, and
English classical repertoire are welcome.
Eastman School of Music
Training the Young Male Voice with
Robert Swenson
This class will focus on the classical
training of the young male voice. There
will be a short historical outline on
how the voice began to be technically
guided since the time of Rossini when
composers began to ask for a fullvoiced extension into the top register.
There will be an explanation of the
developmental and technical issues
challenging the young male singer.
There will also be a clear approach
presented to help voice teachers and
students understand how the male
Interlochen Center for the Arts
Interlochen Masterclass with Scott Skiba
Participants will work on vocal
technique, interpretation and expression
of the music and text, and fundamental
physical and vocal characterization
techniques. Work will focus on defining
what the text “says,” interpreting what
the text and music “mean” to the artist
and character, and how to express this
through dynamic vocal and physical
actions in a way that is authentic to the
relationship with the given circumstances
of the text, music, and artist.
Ithaca College
The ABCs of Musical Preparation
with Deborah Montgomery-Cove & Brad
Hougham
A: Attention to the details of language,
musical elements, phrasing, and
dynamics.
B: Balancing the precision of the
musical elements with expressive
elements.
C: Creativity in character development
and story telling.
Join Ithaca College professors
Deborah Montgomery-Cove and Brad
Hougham to explore ways to maximize
your confidence for any performance or
audition.
FRANCO-AMERICAN VOCAL ACADEMY
An educational organization striving
to develop the complete singer.
2 Intensive
Summer
Programs:
Salzburg,
Austria
Sheet Music for Strings, Winds, Brass,
Keyboard, & Voice, including Scores,
Chamber Music & Choral Music
Périgueux,
France
191 Highland Ave Suite B7 | Somerville, MA 02143
10 am - 5:30 pm (Mon-Sat)
p: 800.863.5150 (toll free) | p: 617.547.8263
f: 617.284.6073 | e: [email protected]
www.yesterdayservice.com
Special Orders Filled in a Timely Manner
Information : favaopera.org • [email protected] • tel: (512) 285-2245
FAVA is a non-profit, non-discriminatory organization affiliated with the
University of Texas in Austin
High School Masterclass Descriptions continued
The Juilliard School
Pre-Screening for Singers: A Practical
Guide to Making a Pre-Screening
Recording with Lee Cioppa & Christina
Daly
With pre-screening required for
almost every major music school, and
invitations to live auditions becoming
more selective, the recording you send
with your application is becoming more
and more important! Get tips and advice
from admissions professionals who
have heard thousands of recordings—
the good and the bad—so that you
can prepare your best pre-screening
recording. With Lee Cioppa, associate
dean for admissions at the Juilliard
School, and Christina Daly, assistant
dean for admissions at New England
Conservatory.
Lawrence University
The Acoustic Advantage: Getting More
for Less with Kenneth Bozeman
Good singing existed long before serious
voice science. Yet we now have had over a
century and a half of successful scientific
investigation into voice production.
While voice teachers will continue to
draw from the vocal traditions in which
they were trained, many are finding recent
discoveries in the acoustics of singing to
be remarkably helpful. This session will
demonstrate clear, effective techniques
from voice science that accelerate vocal
progress.
New England Conservatory Masterclass
with Michael Meraw
Sing for a member of New England
Conservatory’s renowned voice faculty
and receive feedback in a supportive and
engaging setting from an experienced
voice teacher. Please feel free to bring
a song or aria in any language. Singers
interested in participating are encouraged
to sign up at the NEC table at the College
Expo, but volunteers will also be welcome
in the class as time permits.
New York University
Music Theatre for the Classical Singer
with Dianna Heldman & Michael Ricciardone
“Everybody says don’t it isn’t right,
don’t it isn’t nice . . . don’t get out of
line . . . ” Ever wondered if, as a classical
singer, it might be fun to sing music theatre
repertoire? Have you wondered if there
was a difference in how you would sing
it? Ever asked yourself, “Will it ruin my
voice . . . can I do both?” Well, how do
you know unless you give it a try? Come
sing your favorite piece of music theatre
or classical repertoire for NYU Steinhardt
Professors Dianna Heldman and Michael
Ricciardone and find out. “ . . . don’t be
afraid!” —Stephen Sondheim (Anyone Can
Whistle)
Be heard.
www.depauw.edu/beheard
Northwestern University
Consonants: Clear, Clever, and Concise
Concepts that Greatly Improve Your
Auditions with Karen Brunssen
Better articulation of consonants
can contribute to better singing, better
communication, more confidence, and
a better musical presentation. Through
an understanding about the points
of articulation, exercises that utilize
consonants to improve the voice, and
poetic use of consonants, professor Karen
Brunssen will share quick, attainable
concepts that can have an immediate
positive impact on the overall presentation
of audition repertoire.
Oberlin College
“Si Canta Come Si Parla:” Uncovering the
Hidden Potential of Speech Resonance
in the Classically Trained Singing Voice
with Salvatore Champagne
What does this famous maxim of the
Italian school mean and how does it
opera
apply to the classically trained singer?
Join Associate Professor of Singing and
Director of Oberlin Conservatory’s Vocal
Studies Division Salvatore Champagne in
a masterclass devoted to investigating the
unique relationship between speech and
the classical singing voice. Learn to use
speech patterns to increase resonance and
guide you to a more natural and efficient
vocalism.
Ohio State University
Technique: A Means to an End with
Loretta Robinson
Sing for Ohio State University’s
renowned voice faculty and receive
feedback in a supportive and engaging
setting from an experienced voice teacher.
Please feel free to bring a song or aria
in any language. Singers interested in
participating are encouraged to sign up at
the OSU table, but volunteers will also be
welcome in the class as time permits.
song
Oklahoma City University
College Auditioning 101 with Frank
Ragsdale & William Christensen
Learn about all aspects of auditioning
and applying for college from repertoire to
clothing.
Olivet Nazarene University
Preparing for Your College Voice
Auditions with Jeff Bell
High school singers who are going
on to college may plan to continue their
singing in choirs and in private study at
the collegiate level, and some will decide
to major in music. Whether auditioning
for private lesson placement, acceptance
to a major, or a membership in a choir, all
singers need to be prepared for what will
be expected at the audition. This session
will feature helpful tips regarding song
selection, vocal quality, diction, stage
deportment, and attire. Selected students
will work with university voice professors/
coaches.
choir
It's all here... awaiting you!
Soprano
Jean del Santo, Barbara Kierig, Wendy Zaro-Mullins
Choral Conducting
Kathy Romey, Matthew Mahaffey
Mezzo-Soprano
Adriana Zabala
University Opera Theatre
David Walsh
Tenor
John De Haan
Vocal Music K-12
Keitha Hamann
Baritone
Philip Zawisza
Bachelor of Music, Vocal Performance
Bachelor of Music,
Music Therapy with Vocal Emphasis
Bachelor of Music,
Music Education with Vocal Emphasis
Master of Music, Vocal Performance
Doctor of Musical Arts, Vocal Performance
vocalarts.umn.edu • [email protected] • 612-624-2847 • Jean del Santo, vocal division chair: 612-624-5883
Palm Beach Atlantic University
Technical Efficiency in Breath
Management and Support for Singing
with Marilyn Mims
This masterclass for singers
interested in finding more efficient
breath management and support will
emphasize the bel canto technique.
Singers will perform a selection (or
segment) and then Marilyn Mims
will diagnose ways the singer can be
more efficient in managing breath
and providing support for the tone
through practical demonstrations and
applications.
Pepperdine University
Pepperdine Masterclass with Melanie
Emelio
Have you ever wondered why
singing can be so difficult? Good vocal
production has to do with releasing
“bad” tension (jaw, tongue, neck,
shoulders, etc.) thus freeing the vocal
tone and discovering the ease in singing.
Bring a song or aria that you feel needs
work to find true freedom in production.
perfection of vowel production in order
to accommodate the long and challenging
line of the Bel Canto repertoire. We will
also address proper use of appoggiatura
and portamento in reference to the
composer’s performance practice.
Finally, we will help each singer use these
tools to gain more ease of production.
Singers should bring something from
19th century Bel Canto repertoire such
as Bellini, Donizetti, Rossini, etc.
Rutgers
A Guide to a Successful Audition with
Eduardo Chama & Pamela Gilmore
World-renowned
opera
singer
Eduardo Chama and international
vocal coach Pamela Gilmore have been
preparing classical singers in the worlds
of opera and academia for years. Their
expertise and love of the repertoire
guides singers towards a true expression
of character. They continue their work
with aspiring young singers as faculty
for the Opera Program at Mason Gross
School of the Arts, Rutgers University,
and the Castleton Festival.
Shenandoah University
San Francisco Conservatory of
Music
19th Century Bel Canto Singing with
Daniel Mobbs
This masterclass will focus on the
use of forward motion in breath and
The Breath-to-Text Connection with
Byron Jones
Master
teacher
Byron
Jones
(Shenandoah Conservatory, Seagle
Music Colony) will focus on the relaxed,
released, and energized singer’s breath
and how it can help the singer get all
the expressive potential out of the text.
Discussion will focus on the successful
audition in terms of freedom of sound,
musical expression, accuracy of diction,
and clarity of intention.
CHICAGO PERFORMS. SO WILL YOU.
Bachelor of Music and Master of Music degrees in
Voice Performance and Professional Diploma in Opera
(in conjunction with Chicago Opera Theater).
CCPA Voice Faculty:
Matthew Chellis
Cynthia Clarey
Mark Crayton
Judith Haddon
David Holloway
Jonita Lattimore
Samuel Ramey
Richard Stilwell
Dana Brown (Musical Preparation)
Scott Gilmore (Musical Preparation)
Study with accomplished faculty, who include Chicago Symphony and Lyric Opera
orchestra members, Metropolitan and Lyric opera sensations, renowned soloists,
Grammy-winning jazz musicians, and award-winning composers. Enjoy opportunities
to perform in professional venues. Live, learn, and perform in downtown Chicago.
roosevelt.edu/CCPA
(312) 341-6735
[email protected]
Text CCPA to 57711
Shorter University
Telling the Story with Your Italian
Songs and Arias with Deborah Popham
Many students bring one of the
“hits” from the 24 or 26 Italian Songs
and Arias collections to their college
audition. When the voice faculty hears
“Caro mio ben” or “Le violette” multiple
times a day, how do you make yours
stand above the rest? This masterclass
will focus on how to bring these songs to
life and help you discover ways to make
your “Tu lo sai” tell the story and be
truly memorable!
Southern Methodist University
Developing the Individuality of Your
Voice with Clifton Forbis
This masterclass will focus on
finding the unique individuality of
voice within each singer. Attempting to
“homogenize” the sound of all singers
rather than capitalizing on the unique
qualities of each voice can restrict
vocal development. This is especially
prevalent in men’s voices. This class
will facilitate the process and technique
of vocal production while engaging the
entire body as the instrument.
Temple University
Successful Auditioning: Tactics and
Techniques with Christine Anderson
Excellent audition techniques are
essential for singers. Come and discover
the audition techniques that will give
you the tools you need to create a
dynamic first impression. In a class
geared towards college-bound vocalists,
Anderson will work with performers to
uncover the dramatic intent of songs
and how to project it, make technical
comments on diction and presentation
skills, and give advice on selecting
repertoire appropriate for the college
audition.
Tulane University
Communicating Music and Text for
Winning Performances and Auditions
with Amy Pfrimmer
This class presents the opportunity
to polish audition repertoire and to
ask questions about how you can best
communicate your music and text. The
class will focus on musical and dramatic
song presentation, communicating what
you intend in performance, and freeing
your singing self through the text!
University of Alabama
Singing in 3D: A Virtual Introduction
to the Body with Susan Williams
This session will offer an introduction
to the 3D virtual anatomy program
Visible Body and how this exciting
software can provide a practical, visual
guide to the anatomy of singing. This is
ideal for young singers interested in how
the singing body works and for teachers
who may want to incorporate this userfriendly application in their studios.
UNDERGRADUATE VOCAL STUDY AT THE HARTT SCHOOL
Outstanding Performance Opportunities Designed for Undergraduates
Yearly fully-staged undergraduate opera and opera scenes
Choral tours and major works for choir and orchestra
Recital series and master classes
Vocal Faculty includes:
Robert Barefield
Edward Bolkovac
Cherie Caluda
Claude Corbeil
The Hartt School | University of Hartford | 200 Bloomfield Avenue | West Hartford, CT 06117
860.768.4465 | [email protected]
Kelly Horsted
Kevin Jones
Doris Lang Kosloff
Michael Kutner
Joanna Levy
Marjorie Melnick
Maureen O’Flynn
Wayne Rivera
Eric Trudel
Kyle Swann
www.hartford.edu/hartt
University of Hartford
Breath and Shape with Robert Barefield
This class will help singers find balance and resonance by
linking efficient airflow to optimal vocal shape. We will work to
release tensions that inhibit breath and strive to use language in
a way that supports beautiful singing.
University of Iowa
Coordinating Activator and Vibrator to Enhance Resonation
with Rachel Joselson
This class is about fine-tuning coordination between activator
breath and vibrator vocal fold adduction. In order to maintain
an “open throat,” proper tongue position is essential. Crisp
and well-produced consonants (both voiced and unvoiced, for
different reasons) can aid greatly in maintaining legato and ease
of production in repertoire. Optimal resonance throughout
one’s range is largely the result of proper coordination and
where we will place our focus.
University of Michigan
Unleash Your Expressive Powers Through the Unity of Heart,
Soul, and Mind with Freda Herseth
Freda Herseth will offer a masterclass that focuses on bringing
out a singer’s individual and natural vocal production. She will
work with singers to consciously unite their musical imagination
and technique to achieve greater musical expression.
University of Minnesota
Strengthening Your Weakest Link with Jean del Santo
What one element of your singing/performance, if improved,
would significantly enhance your entire presentation? Attend
this innovative session to self-identify your weakest link and
develop strategies to improve your “total package.” Bring a song,
or section of a song, that presents a particular challenge for you.
Learn a variety of techniques to address the issue and ensure a
more pleasurable performance for yourself and your listeners.
University of North Texas
Preparing for a Successful Music School Audition with Linda
Di Fiore
Regents Professor Linda Di Fiore will provide a comprehensive
masterclass dealing with the necessary components of successfully
auditioning for a university music program, including solid vocal
technique, musical preparation, engaging artistry, choice of
repertoire, appropriate dress and physical presentation, what to
include in a résumé, how to write a compelling essay, and how to
capitalize on your unique strengths as a performer.
University of South Carolina
Musical Theatre Masterclass with Janet Hopkins
The use of a solid vocal technique is needed for longevity of
performing, especially with the high demands in today’s industry.
To make yourself more marketable, you must be able to perform
well in as many vocal styles as possible and create an entire
package as a performing artist. This musical theatre masterclass
will help you prepare for an audition for a university music
theatre program, an audition for a musical, or workshopping
your musical theatre performance pieces for self-improvement.
Students will present two songs which should ideally be no
longer than eight minutes in total; contrasting styles, genres, and
tempo (e.g. a slow ballad and an up tempo comedy piece); and
memorized.
University of Toledo
The Importance of Getting Your Actor On with Denise Ritter
Bernardini
To be (an actor) or not to be (an actor)? Is that a question
classical singers need to ask? What is the answer? Come and try
out your aria or song with Denise Ritter Bernardini, director of
opera at the University of Toledo, where we will discuss acting
for singers. In this masterclass you will have your piece finetuned so that it will show off your acting skills in an appropriate
way for art song or arias. We will also discuss how to prepare a
song or aria in a way that will be engaging for the audience while
maintaining beautiful singing.
Viterbo University
Voice Teacher, Vocal Coach, and Singer Collaboration . . .
the Viterbo University Model with Daniel Johnson-Wilmot & David
Richardson
Daniel Johnson-Wilmot brings 40 years of university voice
teaching and together with the vocal coaching expertise of David
Richardson in this masterclass singers will receive instruction in
vocal technique, musicality, language, style, and presentation.
Your performance in our masterclass may qualify as an audition
into the music program at Viterbo University.
Walnut Hill School for the Arts
The Complete Package with Angela Gooch
Polish your performance with Angela Gooch, head of vocal
studies at the Walnut Hill School for the Arts. Learn ways to
enhance your performance and audition skills through vocal
techniques, acting techniques, and musical interpretation. Join
us for a fun exploration of making music together!
Westminster College
Acquiring Authenticity in Foreign Language Repertoire with
Anne Hagan Bentz
Simple things can be added to increase the intelligibility,
authenticity, and accuracy in singing in foreign language. Anne
Hagan Bentz, associate professor of voice and head of the Voice
Area at Westminster College in New Wilmington, Pa. provides
singers with tips to improve their pronunciation in French,
Italian, and German. Sign up to perform at Westminster College’s
display table. Bring an art song or aria to the masterclass.
A voice to be heard
Voice Faculty:
Margaret Dehning,
Director of Vocal Studies;
Milena Kitic, Artist-in-Residence;
Carol Neblett, Artist-in Residence;
Christina Alexopoulos,
David Alt, Peter Atherton,
Christina Dahlin, Kristina Driskill,
Patricia Gee, Patrick Goeser,
Jonathan Mack, Bruce McClurg,
Susan Montgomery
Alexander Technique:
Pamela Blanc
Operatic Studies:
Peter Atherton,
Director of Operatic Studies;
Carol Neblett,
Associate Director of Opera Chapman;
Experience conservatory-level training
in a liberal arts environment at
Chapman University
Consistently ranked among the best American music
schools, we offer quality programs with dedicated
faculty, world-class student ensembles, and
state-of-the-art facilities.
Offering Bachelor of Music degrees in Music Performance,
Music Education, and Composition. Talent awards, academic
scholarships, and financial aid assistance available.
Cheryl Lin Fielding,
Opera/Vocal Coach
Janet Kao,
Opera/Vocal Coach
Choral Ensembles:
Stephen Coker,
Director of Choral Studies
Angel Vázquez-Ramos,
Choral Music Education
For admission and scholarship
information, please contact:
Office of Admissions,
Chapman University
One University Drive
Orange, California 92866
1-888-CU-APPLY
www.chapman.edu
Accredited institutional member of the
National Association of Schools of Music
University and Young Artist Events Schedule
The Young Artist Series Presentations are only for registrants of the Young Artist Series. If you have not already done so, register
before the Convention at www.ClassicalSinger.com/yas or in Boston at the Convention Registration Desk.
Thursday, May 23
12:00 p.m. - 6:00 p.m.
1:00 p.m. - 8:00 p.m.
University/Young Artist Classical and Musical Theatre Competition
Boston Region First Round
Webster
8:30 p.m.
Boston Region First Round Winners Announced
Commonwealth Foyer
Concourse Level
Comment sheets from today’s competition will be available tomorrow in the Grand Ballroom C-E.
Friday, May 24
9:00 a.m. - 6:00 p.m.
Commonwealth Foyer
10:00 a.m. - 6:00 p.m.
Exhibitor Hall Open
Grand Ballroom C-E
10:00 a.m. - 2:00 p.m.
University Classical Competition, Second Round
Otis, Revere
10:00 a.m. - 2:00 p.m.
Young Artist Classical Competition, Second Round
Stone, Webster
3:00 p.m. - 7:00 p.m.
University Classical Competition, Second Round
Hancock, Otis, Revere, Stone
3:00 p.m. - 7:00 p.m.
Young Artist Classical Competition, Second Round
Webster
7:30 p.m. - 8:30 p.m.
Exhibitor Masterclasses
Refer to program insert
8:30 p.m.
University/Young Artist Classical Competition
Second Round Winners Announced
Concourse Level
Comment sheets from today’s competition will be available tomorrow in the Grand Ballroom C-E.
Saturday, May 25
9:00 a.m. - 6:00 p.m.
Commonwealth Foyer
10:00 a.m. - 6:00 p.m.
Exhibitor Hall Open
Grand Ballroom C-E
10:00 a.m. - 11:00 a.m.
Young Artist Series Presentation
To Grad or Not to Grad or What to Grad-Panel Discussion
Commonwealth A
11:30 a.m. - 12:30 p.m.
Auditioning for Grad Schools-Panel Discussion
Commonwealth A
1:30 p.m. - 2:30 p.m.
How and When to Get an Agent
Commonwealth A
3:00 p.m. - 4:00 p.m.
How the Business Model Has Changed
Commonwealth A
4:30 p.m. - 5:30 p.m.
Identifying and Preparing for YAP Auditions
Commonwealth A
6:00 p.m. - 7:00 p.m.
Preparing for your Engagement Period and Beyond
Commonwealth A
7:30 p.m. - 8:30 p.m.
Sunday, May 26
9:00 a.m. - 6:00 p.m.
Commonwealth Foyer
9:30 a.m. - 1:30 p.m.
University/Young Artist Classical Competition
Semifinal Round
Commonwealth C
10:30 a.m. - 12:30 p.m.
University/Young Artist Musical Theatre Competition
Semifinal Round
Commonwealth A
11:30 a.m. - 12:30 p.m.
1:00 p.m. - 2:00 p.m.
1:00 p.m.
Musical Theatre Competition Finalists Announced
Concourse Level
2:15 p.m.
Classical Competition Finalists Announced
Concourse Level
2:30 p.m. - 3:30 p.m.
Musical Theatre Final Round
Grand Ballroom A-B
2:30 p.m. - 3:30 p.m.
4:30 p.m. - 5:30 p.m.
Classical Final Round
Grand Ballroom A-B
7:00 p.m. - 9:00 p.m.
Winners Concert
Grand Ballroom A-B
Winners from all divisions will be announced, scholarships will be
awarded, and First Place winners will perform.
Comment sheets from today’s competition will be available at the Registration Desk; remaining sheets will be mailed back to participants.
B.M., M.M., D.M.A., A.D. / B.A., M.A., PH.D.
Programs in Voice and Opera | Extension Division Non-Degree Courses | Online Courses
n
n
n
n
n
Music conservatory training within New Jersey’s flagship public research university
Choral Ensembles, Fully Staged Operas, Master Classes, Student Recitals
Opera Institute and Workshop
Easy train ride to New York City and Philadelphia
Affiliation with the Castleton Festival Artist Training Seminar, under the direction
of Maestro Lorin Maazel
Voice Faculty:
EDUARDO CHAMA, PAMELA GILMORE (Opera), NANCY GUSTAFSON, TAINA KATAJA,
JUDITH NICOSIA, FREDERICK URREY (Voice Area Chair)
FOR MORE INFORMATION VISIT
WWW.MASONGROSS.RUTGERS.EDU
Voice at Olivet
· Study with a full-time professor of voice
· Range of study and literature from classical to
contemporary
· Solo performance opportunities
· Five concentrations (all may include voice):
Composition
Music
Music Education
Music Ministry
Music Performance
· 3,000-seat Centennial Chapel with 125-rank
Ruffatti pipe organ
· 500-seat Kresge Auditorium with orchestra pit
(located on campus in the Larsen Fine Arts Center)
· Performances with full symphony orchestra:
Commencement Concert
(concerto & aria)
Handel’s Messiah
Musical productions
(opera & musical theater)
Opera scenes programs
· Master classes with professionals from
opera, musical theater, voice pedagogy
· Choral opportunities:
Chrysalis Women’s Choir
Concert Singers
Proclamation Gospel Choir
Orpheus Choir
Testament Men’s Choir
· Personal attention in attractive facilities
· Secure campus 50 miles from Chicago
with easy access to Chicago Symphony
Orchestra, Lyric Opera and Broadway shows
Scholarship money available through audition. For more information,
call 815-939-5298 or email [email protected]
For more information about Olivet, visit www.olivet.edu
July 5 to August 15, 2013
The rich AIMS curriculum features an international faculty and Master Classes
for Singers and Pianists presented by world-famous guest artists and teachers.
Christa Ludwig – the legendary German mezzosoprano, a master class for emerging professional singers.
Linda Watson – “the leading Wagnerian soprano of our time” (Bayreuth, Met, Los Angeles, Munich, Vienna,
Berlin), the 2013 AIMS Artist-in-Residence; master classes and coaching w/emphasis on the dramatic voice.
Barbara Bonney – celebrated lyric soprano (Met, Covent Garden, Vienna), professor of voice at the
Mozarteum Salzburg); master class for Lieder singers and pianists.
Michèle Crider – European-based American dramatic soprano (Met, Covent Garden, San Francisco, Berlin,
Vienna) returns to work with opera track singers.
Ulrich Eisenlohr – European Pianist and Collaborative Pianist who has recorded all of Schubert’s songs;
master class for Lieder singers and pianists.
Gabriele Lechner – Viennese soprano (Vienna, Zurich, Graz, Italy), professor of voice at Vienna University
of Music and Dramatic Arts, returns for a series of six master classes.
TBA – the popular AIMS aria reading session with orchestra, “How to sing with an orchestra and how to play for
the singer”.
John Treleaven – English tenor (Munich, Vienna, London), 120 roles in opera houses of the world, famed
for his protrayal of Tristan and the Wagnerian heldentenor roles, and Peter Grimes. Master class for singers.
Become a part of the AIMS Legend...
recorded auditions accepted until June 1st if places are still available.
www.aimsgraz.com.
Young Artist Series Presentation Descriptions
Young Artist Series Presentations are only for singers
registered for the Young Artist Series. Cost is $95 or
$125. Registration is available on our website, by
phone, or at the event.
Auditioning for Grad Schools—Panel
Discussion
So you want to seek additional higher
education. Learn all you need to know for
selecting the right program, applying, and
auditioning to ultimately be accepted to the
school of your choice.
How and When to Get an Agent
with Ana De Archuleta
In many singers’ minds, signing with a
manager can mean you’ve made it. But what
does having a manager really mean? In this
class, you will learn the difference between
an agent and a manager, what kind of jobs
or prospect of jobs you should have to need
an agent, how to start a relationship with
an agent, and how to communicate with
your agent. In addition, you’ll find out what
an agent’s responsibilities are and what
the responsibilities of a managed singer are,
as well as discuss the terms of contract with
an agent.
How the Business Model Has Changed
with Ana De Archuleta
The economic state of recent years has
had an effect on arts organizations. How is
this affecting singers and how is the industry
changing? The importance of conductors
and directors, Skype auditions, new
productions and new music, marketing and
social media, physicality in productions,
and HD broadcasts are all contributing to
this changing landscape. Learn how you
can not only fit in, but also thrive, in this
new business model.
Identifying and Preparing for YAP
Auditions with Laurie Rogers
How do you sift through the plethora of
YAP opportunities out there and narrow
them down to the programs that are the
best match for your abilities at this stage
of your career? What’s the perspective like
from the company’s side of the table—from
receiving your application and materials,
to choosing who to hear in auditions, to
making our decisions and offers? Find the
answers to these questions and more in this
must-attend class for all singers auditioning
for Young Artist Programs.
Preparing for your Engagement Period
and Beyond with Laurie Rogers
So you’ve got your first Young Artist
Program contract. Congratulations! But
now what? How do you make a great, lasting
first impression? What are the company’s
expectations? How are YAPs different from
being in school? And what comes after a
YAP program? Discover what you need to
know for a successful Young Artist Program
experience and how to then transition into
the professional arena.
To Grad or Not to Grad or What to
Grad—Panel Discussion
Is a master’s degree really required to
make it as a professional singer? Will a
doctoral degree actually count against you?
Get different viewpoints to these and other
questions about graduate school.
Study MuSic at MaNNES
cOLLEGE iN NEW yORK city
Music is your passion. Prepare to make it your life. Part of
The New School, Mannes is the only New York City conservatory that
offers the resources of a leading university.
www.newschool.edu/mannes4
An Affirmative Action/Equal Opportunity Institution. Photo: Matthew Sussman.
Young Artist Series Presenters
Ana De Archuleta has quickly
established herself as one of the
most sought after managers by
rising young artists in the operatic
field. ADA Artists Management
represents a thriving roster
of vocalists and conductors
worldwide. ADA Artists can
be seen on the stages of the
Metropolitan Opera, Lyric Opera
of Chicago, San Francisco Opera,
New York City Opera, Houston
Grand Opera, and throughout the United States as well as in Italy,
Germany, Spain, Switzerland and France.
A business member of OPERA America and the American
Symphony League, De Archuleta’s vast background in the arts has
played a major role in her success as an artist’s manager. Throughout
her life she has been involved in many facets of the performing arts
as an instrumentalist, dancer, operatic stage manager, assistant
director, opera chorister, and finally opera soloist. Her work now
takes her to companies throughout the U.S., as she frequently
travels to see her clients’ performances. With many performing
arts organizations, she often works with the Resident Artists in
masterclasses and giving one on one consultations, passing on
her insights into the business aspect of the opera world. She has
given seminars in the business of opera at Cincinnati CollegeConservatory of Music, Westminster Choir College, Lake George
Opera, Opera New Jersey, Minnesota Opera, and Wolf Trap Opera
among others.
With a degree in communications and a master’s in voice
performance from the Cincinnati-College Conservatory of Music,
Ana De Archuleta (formerly Ana Rodriguez) was known throughout
her performing career for her versatility of voice and dramatic
character. Favorite roles include Musetta in La bohème, Servilia
in La clemenza di Tito, Lucia in Lucia di Lammermoor, Nina in
Chérubin, Beth in Little Women, Tebaldo in Don Carlos, Barbarina
in Le nozze di Figaro, and Fire in L’enfant et les sortilèges which she
has performed with such companies as Opera North, Minnesota
Opera, Orlando Opera, Puerto Rico Symphony Orchestra,
Young Artist Series Presenters
Minnesota Orchestra, Cincinnati Pops Symphony, Opera Theater
of Lucca, and Pro Arte Lirico and Cincinnati Opera.
Originally from Puerto Rico, De Archuleta now resides in
New York City.
Laurie Rogers, director of Young
Artist Programs for Opera Saratoga,
is currently an assistant conductor at
the Dallas Opera, and on the music
staff at the San Francisco Opera.
She has conducted productions for
Opera Saratoga and Poor Richard’s
Opera in Philadelphia. Rogers
served as assistant conductor for
the Opera Company of Philadelphia
over the course of 13 seasons, also
working for many years in artistic
administration for that company.
She is a New England Conservatory of Music alumna and has
prepared productions for San Diego Opera, Utah Opera, Atlanta
Opera, Green Mountain Opera Festival, Arizona Opera, Opera New
Jersey, Michigan Opera Theatre, Washington National Opera, Wolf
Trap Opera, Boston Lyric Opera, Sarasota Opera, Pittsburgh Opera,
Opera Theatre of Saint Louis, Glimmerglass Opera, and others.
Rogers has been a faculty member and conductor for the Professional
Advantage vocal studies program in Mercatello sul Metauro, Italy. She
has also taught at the Lake Placid Institute for the Arts, the Chautauqua
Institution Voice School and the New England Conservatory Opera
Department, and accompanies regularly for the Philadelphia Orchestra
and Astral Artists.
She was integrally involved in the creation of Richard Danielpour’s
Margaret Garner and David DiChiera’s Cyrano and most recently
helped prepare the world premiere of Jake Heggie’s Moby-Dick at the
Dallas Opera, and assisted the composer with editing and preparation
for the published piano-vocal score. Rogers gives masterclasses on
pianist/singer issues and has been published in Classical Singer
magazine.
She lives in Philadelphia, where she maintains an active coaching
studio.
Master classes, Voice lessons, Coaching, Performance
© Giovanni Orru
Casentino Voice
Valerie Girard
Amidst the natural beauty of the Casentino valley with its ancient country churches, castles, sanctuaries and panoramic views of
the Apennine mountains, join soprano Valerie Girard and pianist Marioara Trifan for ten inspiring days from August 10th-20th,
culminating in a festival concert at the Castello di Porciano. For more information, visit www.valeriegirard.com/masterclass.
www.music.utah.edu/areas/voice/index.php
“The Moores School of Music of the University of Houston
habitually tackles the new and unusual ...The production was
surprisingly professional in concept and execution ... and the
opera house is a gem.”
- Dallas Morning News
Moores Opera Center Production of Die Fledermaus
“...I have rarely experienced so high a level of vision,
quality, and committment as I did at the University
of Houston’s Moores School of Music.”
- Pulitzer Prize winner
Dominick Argento
Concert Chorale
David Ashley White, msm director
www.music.uh.edu
713•743•3009
UH is an EEO/AA institution
“Everything is about
mastery. It has to do with
craft and passing it on to the
next person. That’s exactly
what we do here.”
“If I can share my heart,
my talent, my passion…
then I know I have done
something good for
the world.”
BaCHElOr Of MusiC | MastEr Of MusiC | DOCtOr Of MusiCal arts
artist CErtifiCatE | artist DiplOMa | prOfEssiOnal stuDiEs
11021 East Boulevard Cleveland, OH 44106
216.791.5000 | cim.edu
VOICE AT
CORNISH.
SEATTLE
WASHINGTON
COLLEGE PREPARATORY SUMMER WORKSHOPS
CLASSICAL, OPERA, JAZZ, MUSICAL THEATER
JULY 22 – 26, 2013
IMMERSE YOURSELF IN ALL ASPECTS OF THE
SINGER’S ART—VOCAL TECHNIQUE, INTERPRETATION,
DICTION, MOVEMENT, AND ACTING. STUDY WITH
WORLD-CLASS FACULTY IN DEDICATED WORKSHOPS
FOR CLASSICAL VOICE AND OPERA, JAZZ, AND
MUSICAL THEATER.
BACHELOR OF MUSIC IN VOCAL PERFORMANCE
ARTIST DIPLOMA IN EARLY MUSIC
VOCAL FACULTY
MICHAEL DELOS, bass baritone
JOHN DUYKERS, tenor, contemporary opera
JOHNAYE KENDRICK, jazz voice
NATALIE LERCH, soprano
CYNDIA SIEDEN, coloratura soprano
KATHRYN WELD, mezzo-soprano
BETH WINTER, jazz voice
NANCY ZYLSTRA, baroque opera
WWW.CORNISH.EDU/MUSIC
800.726.ARTS
The USC Thornton School of Music Opera Program is one of America’s
premier training grounds for singing-actors, opera coaches and
collaborative keyboard artists - a program where youth and experience
meet in a vibrant urban setting to create provocative productions of
classic and modern masterpieces.
Vocal Arts and Opera
at USC
Vocal Performance Faculty
Ken Cazan,
chair & resident stage director
Brent McMunn,
music director of opera
Rod Gilfry
Gary Glaze
Elizabeth Hynes
Cynthia Munzer
Lisa Sylvester
Shigemi Matsumoto
Janice McVeigh
frequent performance opportunities
prestigious opera program
Nathan Gunn
Allen Hahn
Michael Hampe
Peter Harrison
David Jacques
Lowell Liebermann
Catherine Malfitano
J.D. McClatchy
Erie Mills
Martin Pakledinaz
Jennifer Ringo
Carol Vaness
Frederica Von Stade
Michael York
powerhouse alumni and faculty
individualized attention
Unique among the premier music schools of the world
usc.edu/music | facebook.com/uscthornton
Guest Artists Including
Thomas Adès
Sir Thomas Allen
Cameron Anderson
Jacqueline St. Anne
Daniel Belcher
Christine Brewer
Jason Robert Brown
Vinson Cole
Patricia Craig
Grant Gershon
Anthony Dean Griffey
Denyce Graves
2039 Kennedy Boulevard
Jersey City, New Jersey 07305
The Department of Music, Dance and Theatre of New Jersey City
University is an accredited institutional member of the National
Association of Schools of Music (NASM) and a collegiate member of
MENC, The National Association for Music Education.
Undergraduate Degree Programs:
B.A. in Music Education
B.A. in Music Theatre
B.A. In Music Business
B.M. In Classical Studies
B.M. In Jazz
Contact:
Donna Connolly
Vocal Studies Coordinator
201-200-2018
[email protected]
n o r t h w e s t e r n u n i ve rs i t y
njcu.edu
Bienen School of Music
Voice and Opera Faculty
TheresaBrancaccio,mezzo-soprano
KarenBrunssen,mezzo-soprano
NancyGustafson,soprano
KurtHansen,tenor
PamelaHinchman,soprano
SunnyJoyLangton,soprano
W.StephenSmith,baritone
MichaelEhrman,director of opera
PhilipKraus,opera
RichardBoldrey,coach
AlanDarling,coach
KennethSmith,coach
The Bienen School of Music offers
· Conservatory-leveltrainingcombinedwiththe
academicflexibilityofaneliteresearchinstitution
·TraditionalBM,BA,MM,PhD,andDMdegreesas
wellasinnovativedual-degree,self-designed,and
double-majorprograms
·CloseproximitytodowntownChicago’s
vibrantculturallandscape
·Anew152,000-square-footfacilitytoopenin
summer2015
In addition to this 400-seat recital hall, the Bienen School’s new facility will include
an opera rehearsal room/black box theater, a choral rehearsal/recital room, teaching
studios, practice rooms, classrooms, and administrative offices.
847/491-3141
www.music.northwestern.edu
OPPORTUNITIES
Auditions.........................92
Competitions................ 104
The audition and competition listings in Classical Singer magazine come from our online audition management tool Auditions Plus. With Auditions Plus you can find, save,
manage, and track all types of singing opportunities. More than 1,400 job postings, training program opportunities, volunteer positions and educational listings are available on
AuditionsPlus.com, including more than 400 audition and competition listings. Auditions Plus is free for all Classical Singer subscribers. Find and post opportunities today!
Auditions
Coordinator: Kimberlee Talbot
Email: [email protected]
Website: www.classicalsinger.com/auditions
Audition listings published in Classical Singer must
either be no pay/no fee or paid engagements. If you
have an experience with a listed company that does
not meet this qualification, or if you have any other
problems with a published audition notice, please
contact Kimberlee Talbot immediately at auditions@
classicalsinger.com. We do not publish notices from
companies with unresolved complaints.
3 = New Notice This Issue
Opera Solo
3 Michigan Opera Theatre - Detroit, MI (A,
Paid, Pro)
Auds May 15, ‘13 for small roles in upc ‘13/14
seas. Rep: The Flying Dutchman, La traviata, A
View form the Bridge, Turandot.
Website: www.michiganopera.org/work-withus/vocal-auditions/
Contact Info: [email protected]
Appl Deadline: N/A
Opera Columbus - Columbus, OH (C, Paid,
EmgPro)
Auds May 18-19, ‘13 for edu’tnl prog, mainstage
roles and local chorus.
Website: www.operacolumbus.org
Where Music
Speaks and
Words Sing!
Summer of Song 2013 Master Class Applications being accepted in New York!
The Art Song Preservation Society of New York (ASPS) is pleased to announce our upcoming 2013 "Summer of Song" Master Class
and Recital Series. Singers interested in applying to audition for the summer program series or in applying for The Mary Trueman
Vocal Art Song competition can access the application on our website, www.ArtSongPreservationSocietyNY.org
Master Classes:
Art Songs by Women Composers with Dr. Carol Kimball, Author of the new book "Art Song: Linking Poetry and Music"
Date: Saturday, June 1st, 2013, 1-4:30pm
Carol Kimball
German Lieder with Thomas Muraco, Artist faculty, The Manhattan School of Music
Date: Saturday, June 22nd, 2013, 1-4:30pm
French Mélodie with Thomas Grubb, Author of "Singing in French: A Manual of French Diction and French Vocal Repertoire"
Date: Saturday, July 13th, 2013, 1-4:30pm
20th and 21st Century Art Song with Margaret Lattimore, Grammy nominated mezzo-soprano
Date: Saturday, August 17th, 2013, 1-4:30pm
Recitals:
Thomas Muraco
Thomas Grubb
An homage to the Bi-Centennial of the death of Francis Poulenc
Master teacher Thomas Grubbs presents his students from The Juilliard School's French diction and vocal repertoire classes in a recital of
Poulenc’s Mélodies along with other notable French composers.
Date:
Da Thursday, May 16th, 2013, 6pm
Location: The Juilliard School - Room 305 (155 West 65 Street, Lincoln Center)
Cost: Free
An evening of French, German & American Art Song with the winner of the 2012 Mary Trueman Vocal Arts Competition, Michael Weyandt
(baritone) with internationally acclaimed piano collaborator, Thomas Muraco.
Date: Thursday, June 20th, 2013, 7pm
American Art Song Concert tribute to September 11th
Art Song compositions by some of America's most fascinating and beloved composers. This is a free event not to be missed!
Date: Saturday, September 7th, 2013, 1pm
Margaret Lattimore
All programs take place at Opera America (330 7th Avenue, between 28th and 29th Street) unless otherwise indicated. The application to perform is available on the ASPS website; tickets to attend the master classes and recitals are
affordably priced at $25, with a discounted student price available. Tickets may be purchased online or at the door the
day of the event. For more information, please email [email protected] or visit the ASPS website.
Michael Weyandt
Appl Deadline: N/A
OperaDelaware - Wilmington, DE (C, Paid, Pro)
Auds held periodically throughout yr.
Website: www.operade.org
Appl Deadline: Ongoing
3 Belleayre Festival Opera (Belleayre Music
Festival) - Highmount, NY (D, Paid, Pro)
Casting principals, supporting roles and ensemble
for Carmen.
Website: www.donaldwestwood.com
Appl Deadline: N/A
3 The Haymarket Opera Company - Chicago,
IL (D, Paid, Pro)
Auds May 11, ‘13 for title role in Pimpinone.
Website: www.haymarketopera.org
Appl Deadline: May 6, ‘13
3 Livermore Valley Opera - Livermore, CA (D,
Paid, EmgPro)
Auds May 2 & 4, ‘13 for ‘13/14 seas.
Website: www.livermorevalleyopera.com
Appl Deadline: N/A
3 Miami Lyric Opera - Miami, FL (D, Paid,
EmgPro)
Auds Jul 22, ‘13 to fill principal and secondary
roles for ‘14/15 Seas: L’amico Fritz, Trovatore,
Manon, and Gala.
Website: http://miamilyricopera.org/auditions
Appl Deadline: N/A
BUDGET CATEGORIES
Where available, budget categories are listed for
performing companies. Budget categories conform
to Opera America annual budget levels as reported in
Musical America.
Level
Level
Level
Level
Level
A=$10,000,000 and above
B=$3,000,000-$9,999,999
C=$1,000,000-$2,999,999
D=less than $1,000,000
U=Unknown
For new and complete listings, go to www.AuditionsPlus.com
3 Tacoma Opera - Tacoma, WA (D, Paid, Pro)
Auds for principal and YA roles May 17-19, ‘13.
Website: www.tacomaopera.com/page.
php?id=167
Appl Deadline: N/A
Amici Opera - Philadelphia, PA (U, Volunteer,
EmgPro)
Seeking singers for ‘13/14 seas. Need all voice
types, especially tenors!
Contact Info: 215-224-0257
Center Stage Opera - New Cumberland, PA (U,
Volunteer, EmgPro)
Auds for Manon and Aida.
Website: www.csopera.org
3 CT Gilbert & Sullivan Society - Middletown,
CT (U, Volunteer, EmgPro)
Auds Jun 11, ‘13 for Yeomen of the Guard.
Website: ctgands.org
Appl Deadline: Jun 9, ‘13
Gilbert & Sullivan Yiddish Light Opera Central Islip, NY (U, Volunteer, EmgPro)
Auds for G&S lead and chorus roles.
Website: www.gsyiddish.com
3 Light Opera of New Jersey - Basking Ridge,
NJ (U, Paid, EmgPro)
Upc seas auds May 21, 23 & 25, ‘13. Rep:
Orpheus in the Underworld, Amahl and the Night
Visitors, The Magic Flute.
Website: www.ridgelightopera.org
Appl Deadline: N/A
3 Penguin Entertainment - Orlando, FL (U,
Paid, Pro)
Ongoing opps for local singers.
Website: penguinshows.com
Savoyard Light Opera Company - Carlisle, MA
(U, Volunteer, EmgPro)
May ‘13 auds for The Mikado.
Website: www.savoyardlightopera.org
Appl Deadline: N/A
Concert Solo
Bach Society of St Louis - MO (C, Paid, Pro)
Auds for positions as Principal Singers.
Website: www.bachsociety.org/performers/
principal
Contact Info: (314) 652-BACH
Bel Canto Young Artist Vocal Series - Jersey
City, NJ (Paid, EmgPro)
Auds to be featured in concert series presented
yrly at New Jersey City Univ.
Website: www.njcu.edu
3 Hellenic Music Foundation - East Elmhurst,
NY (Volunteer, EmgPro)
Seeking classical singers of Greek and/or GreekAmerican descent.
Website: www.HellenicMusic.org
New Trinity Baroque - Atlanta, GA (Paid, Pro)
Accepting mats from all voice types for upc
concert seas as soloists or singers in chamber
choir.
Website: newtrinitybaroque.org
Sunday Opera - Philadelphia, PA (Paid, EmgPro)
Seeking 6-8 singers of any fach for Jul ‘13 recital
concert.
Website: www.sundayopera.us/auditions.html
Cooperative Productions
(Singers provide service to aid prods, such
as selling tickets or building sets.)
3 Southland Area Theatre Ensemble University Park, IL (Volunteer, EmgPro)
Auds May 15 & 17, ‘13 for Hair.
Website: www.slatetheatre.org/default.
aspx?id=23032
Appl Deadline: N/A
Church/Temple
Christ Episcopal Church - Bloomfield/Glen
Ridge, NJ (Paid, EmgPro)
Seeking bass section leader.
Appl Deadline: N/A
Covenant Presbyterian Church - Roanoke, VA
(Paid)
Seeking organist/accomp.
First Unitarian Universalist Church of San
Diego - CA (Volunteer, EmgPro)
Auds for women’s ensemble.
Website: www.firstuusandiego.org/
3 Hunt’s Memorial United Methodist Church
- Baltimore, MD (Paid, EmgPro)
Seeking accomp for Chancel, Children’s, and Bell
Choirs.
Website: www.huntsumc.org
3 Stanwich Congregational Church Greenwich, CT (Paid, Pro)
Seeking tenor section leader/soloist.
Website: www.stanwichchurch.org/
Appl Deadline: N/A
Young Artist Programs
Lyric Opera of Chicago - Chicago, IL (A, Paid,
EmgPro)
Prelim auds Mar-Jul for ‘14/15 Ryan Opera
Center Ensemble.
Website: www.lyricopera.org/about/auditions.
aspx
Respond only to auditions for your level, and area of the country, CAREFULLY noting all restrictions.
The following are Artist Level guideline definitions
for Classical Singer audition listings. Definitions, as
such, do not perfectly describe all singers but should
be helpful for artists to determine their qualifications
for a given audition notice.
It is still important for artists to observe these guidelines
as performing companies continue to express their
frustration with those singers who send materials for
audition listings for which they are not yet qualified.
St
ud ent
: Currently enrolled in a university or
conservatory music program.
Em erg ing P rofes s ional: Graduate of a college level
vocal program or conservatory. Or in the last year has
been in a Young Artist Program, Apprentice Program
or performed in Workshop productions or No-Pay
productions. Or equivalent. These artists rarely have
management.
P rofes s ional: In the last year has performed a principal
role in a company with Opera America Budget
Level level C or D or equivalent. Artists in this
level are considered full-time professionals and the
majority of their time spent and income are singingrelated. Many of these artists have management.
Es t
ab lis hed P rofes s ional: In the last year has
performed a principal role in a company with an
Opera America level A or B company or equivalent.
Artists in this category are employed full-time singing
principal roles with companies of any category in
multiple venues domestic and international. These
artists have management.
3 Staatstheater Nürnberg - Nürnberg,
Germany (A, Paid, EmgPro)
Auds for International Opera Studio Nuremberg.
Website: www.staatstheater-nuernberg.de/
inhalte/index.php?menu=105
Contact Info: susanne.hoerburger@
staatstheater.nuernberg.de
Appl Deadline: Jul 31, ‘13
Bach Society of St Louis - MO (C, Paid,
Student)
Auds for Young Artists Awards.
Website: www.bachsociety.org/performers/
young_artists
Contact Info: (314) 652-BACH
3 Tacoma Opera - Tacoma, WA (D, Paid,
EmgPro)
Auds for principal and YA roles May 17-19, ‘13.
Website: www.tacomaopera.com/page.
php?id=167
Appl Deadline: N/A
Arcady - Simcoe, ON, Canada (U, Paid, Student)
Currently accepting appls for ‘14 Young Artist
Program.
Website: http://arcady.ca/?page_id=137
Musical Theatre
3 2nd Street Theater - Bend, OR (Volunteer,
EmgPro)
Auds Jun 17-18, ‘13 for Spamalot.
Website: www.2ndstreettheater.com/auditionsclasses
Appl Deadline: N/A
Actors Guild of Parkersburg - Parkersburg, WV
(EmgPro)
Auds May 5-6, ‘13 for Avenue Q.
Website: www.actors-guild.com/avenue-q.html
Appl Deadline: N/A
3 The Adobe Theatre - Albuquerque, NM
(Volunteer, EmgPro)
Auds Jun 8-9, ‘13 for Pump Boys and Dinettes.
Website: www.adobetheater.org/auditions
Appl Deadline: N/A
The Augusta Players - Augusta, GA (Volunteer,
EmgPro)
Auds May 16-17, ‘13 for Les Miserables.
Website: http://augustaplayers.org/auditionscasting/
Appl Deadline: N/A
Bower City Theatre Company - Janesville, WI
(EmgPro)
Auds May 19-20, ‘13 for Spamalot.
Website: www.bowercitytheatre.org
Appl Deadline: N/A
The Bradley Playhouse - Putnam, CT (Volunteer,
EmgPro)
Auds May 18-19, ‘13 for Anything Goes and Oct
5-6, ‘13 for White Christmas.
Website: www.thebradleyplayhouse.org/
Appl Deadline: N/A
The Broadway Theatre of Pitman - Pitman, NJ
(Volunteer, EmgPro)
Auds for How to Succeed in Business (Jun 9), and
42nd Street (Jun 23).
Website: www.thebroadwaytheatre.org
Contact Info: boxoffice@
broadwaytheatreofpitman.com
Appl Deadline: N/A
California Regional Theatre - Chico, CA
(EmgPro)
Auds May 18-19, ‘13 for Les Misérables.
Website: http://crtshows.com/les-misauditions.html
Appl Deadline: N/A
ALABAMA
The MSM in Voice
at Notre Dame
Stephen Cary, Tenor
Susan Williams, Soprano
Ray Chenez, Countertenor
Paul Houghtaling, Bass-Baritione
Marvin E. Latimer, Jr., Music Education
John Ratledge, Director of Choral Activities
Susan Fleming, Mezzo-Soprano, Area Coordinator
BA, BM, MM, and DMA Degrees
www.music.ua.edu/voice
Master of
Sacred Music
a program with three
concentrations
conducting
voice
organ performance
The MSM in voice at Notre Dame
nurtures entrepreneurial singing
artists, capable of working in a wide
range of repertoire and roles as
professional soloists, choristers,
ensemble leaders, and church music
directors at the highest level.
All students receive full-tuition
scholarships and a supervised
placement that provides a stipend.
For information go to: http://sacredmusic.nd.edu
Auditions
3 Canyon Theatre Guild - Newhall, CA (Volunteer, EmgPro)
Website: www.canyontheatre.org/audition
Appl Deadline: N/A
3 CenterPoint Legacy Theatre - Centerville, UT (Volunteer, EmgPro)
Auds for How To Succeed in Business Without Really Trying Jun 8, ‘13; Into
the Woods Jul 13, ‘13; White Christmas Sep 7, ‘13.
Website: www.centerpointtheatre.org
College of the Mainland Community Theatre - Texas City, TX
(Volunteer, EmgPro)
Auds May 12-13, ‘13 for The 25th Annual Putnam County Spelling Bee.
Website: www.com.edu/community-theatre/audition.php
Appl Deadline: N/A
3 Crested Butte Mountain Theatre - Crested Butte, CO (Volunteer,
EmgPro)
Auds May 14-16, ‘13 for Cabaret.
Website: www.cbmountaintheatre.org/index.html
Appl Deadline: N/A
The Drama Group - Chicago Heights, IL (Volunteer, EmgPro)
Auds May 19-21, ‘13 for West Side Story.
Website: www.dramagroup.org/auditioninfo.asp
Appl Deadline: N/A
Eight O’Clock Theatre - Largo, FL (Volunteer, EmgPro)
Auds May 5-6, ‘13 for The Swashbuckling Adventures of Alex Jones.
Website: www.eightoclocktheatre.com
Appl Deadline: N/A
Encore Repertory Company - Woonsocket, RI (Volunteer, EmgPro)
Auds May 20 & 23, ‘13 for Thoroughly Modern Millie.
Website: www.encorerepco.org/The_Encore_Repertory_Company/Auditions.
html
Appl Deadline: N/A
3 The Footlight Club - Jamaica Plain, MA (Volunteer, EmgPro)
Auds May 13 & 15, ‘13 for Spamalot.
Website: www.footlight.org/auditions.html
Appl Deadline: N/A
3 The Denver Center for the Performing Arts - Denver, CO (Paid, Pro)
Auds for ‘13/14 seas, seeking Equity and Non-Equity perf’rs.
Website: www.denvercenter.org/about-us/jobs-auditions-internships.aspx
Appl Deadline: N/A
3 Fremont Street Theater - Palatine, IL (Volunteer, EmgPro)
Auds May 28-29, ‘13 for The Drowsy Chaperone.
Website: www.fremontstreettheater.com
Appl Deadline: N/A
3 Derby Dinner Playhouse - Clarksville, IN (Paid, Pro)
Next open auds Aug 23, ‘13.
Website: www.derbydinner.com
Appl Deadline: N/A
Good Company Players - Fresno, CA (Volunteer, EmgPro)
Auds May 4, ‘13 for Curtains and Forbidden Broadway.
Website: http://gcplayers.com
Appl Deadline: N/A
3 Des Moines Community Playhouse - Des Moines, IA (Volunteer,
EmgPro)
Auds May 19, ‘13 for Legally Blonde.
Website: www.dmplayhouse.com/volunteer/audition.php
Appl Deadline: N/A
Hale Centre Theatre - West Valley City, UT (Paid, EmgPro)
Upc auds for Disney’s Tarzan (May 11, ‘13), Brigadoon (Jul 13, ‘13), and A
Christmas Carol (Sep 14, ‘13).
Website: halecentretheatre.org
Desert Stages Theater - Scottsdale, AZ (Volunteer, EmgPro)
Auds May 12, ‘13 for Rocky Horror Show.
Website: desertstages.org
Appl Deadline: N/A
SIGHT-SINGING
with
Liz Fleischer
ear training • music theory
“A must for singers, and so much fun...”
Bette Midler
Lucy Moses School at Kaufman Music Center
212 501 3360 • KaufmanMusicCenter.org/LMS • 129 W. 67th St., NYC
Resonance®
A Comprehensive Voice Series
New edition,
same outstanding
quality!
Resonance® A Comprehensive Voice Series serves as the official
resource for voice assessments of the Royal Conservatory
Music Development Program.
Featuring an outstanding selection of voice literature and supporting
materials, this series offers a truly enriched learning experience to
help ensure student success. For more information about how these
publications can support your students in their assessments, visit
www.MusicDevelopmentProgram.org
Download your free sampler at
www.MusicDevelopmentProgram.org
Auditions
Harbor Playhouse - Corpus Christi, TX
(Volunteer, EmgPro)
Auds May 7-9, ‘13 for Les Misérables and Jul
9-10, ‘13 for Evil Dead: The Musical.
Website: www.harborplayhouse.com
Appl Deadline: N/A
3 Hayswood Theatre - Corydon, IN (Volunteer,
EmgPro)
Auds May 13-14, ‘13 for Seussical, the Musical.
Website: www.hayswoodtheatre.com/Auditions.
html
Appl Deadline: N/A
Highland Park Players - Northbrook, IL
(Volunteer, EmgPro)
Auds early Jun ‘13 for Cats.
Website: www.highlandparkplayers.com
Appl Deadline: N/A
3 Ignite Theatre - Aurora, CO (Paid, EmgPro)
Auds May 22-23, ‘13 for Lysistrata Jones.
Website: www.lucentperformingarts.org/auditions.
php
Appl Deadline: N/A
3 Imagine Columbus - Columbus, OH
(Volunteer, EmgPro)
Auds for 9 to 5 (Jun 2-3, ‘13) and Young
Frankenstein: The Musical (Aug 3-4, ‘13).
Website: www.imaginecolumbus.com
Appl Deadline: N/A
3 Irving Community Theater - Irving, TX
(Volunteer, EmgPro)
Auds May 19-20, ‘13 for Bells are Ringing.
Website: www.irvingtheatre.org/new/
mainstage/seasons/2012-2013/bells/index.
htm#auditions
Appl Deadline: N/A
3 JCC SummerStage - Rochester, NY
(Volunteer, Student)
Auds May 20-21, ‘13 for Legally Blonde, the
Musical.
Website: www.jccrochester.org/events/specialevents/centerstage-theatre/auditions
Appl Deadline: N/A
3 Kelsey Theatre at Mercer - West Windsor, NJ
(Volunteer, EmgPro)
Auds May 18-19, ‘13 for Godspell.
Website: www.kelseyatmccc.org/auditions.
shtml
Appl Deadline: N/A
Lakeland Community Theatre - Lakeland, FL
(Volunteer, EmgPro)
Auds May 6-7, ‘13 for Aida.
Website: www.lakelandcommunitytheatre.com/
this-season/auditions/auditions-schedule.html
Appl Deadline: N/A
Lebanon Community Theatre - Lebanon, PA
(Volunteer, EmgPro)
Auds May 19-20, ‘13 for Bye, Bye Birdie and Sep
30-Oct 1, ‘13 for The Sound of Music.
Website: www.lct.cc
Appl Deadline: N/A
LifeHouse Theater - Redlands, CA (Volunteer,
EmgPro)
Auds May 9, ‘13 for Seven Brides for Seven
Brothers.
Website: lifehousetheater.com
Appl Deadline: N/A
3 Lyric Theatre of Oklahoma - Oklahoma City,
OK (Paid, Pro)
Auds May 11, ‘13 for The Rocky Horror Show.
Website: www.lyrictheatreokc.com/about-thelyric/auditions
Appl Deadline: N/A
Discover the Joy in Singing
Shirley Love
a twenty year featured artist at the
Metropolitan Opera Company
Open to vocal students ages 16 & up.
For private study with Shirley Love
914-723-5390
www.voiceteachers.com/shirleylove
3 Marblehead Little Theatre - Marblehead, MA
(Volunteer, EmgPro)
Auds May 13 & 15, ‘13 for Spamalot and The
Fantastics.
Website: www.mltlive.com
Appl Deadline: N/A
3 Myers Dinner Theatre - Hillsboro, IN
(Volunteer, EmgPro)
Auds Jun 12, ‘13 for Disco Inferno.
Website: www.myersdt.com
Contact Info: (765) 798-4902, ext. 4
Appl Deadline: N/A
3 Newtown Arts Company - Newtown, PA
(Volunteer, EmgPro)
Auds May 3-4, ‘13 for Grease.
Website: www.newtownartscompany.com/en/
Appl Deadline: N/A
3 No Square Theatre - Laguna Beach, CA
(Volunteer, EmgPro)
Auds Jun 4-6, ‘13 for The Wizard of Oz.
Website: www.nosquare.org/auditions.html
Appl Deadline: N/A
3 Opera House Players - Broad Brook, CT
(Volunteer, EmgPro)
Auds May 6-7, ‘13 for Company.
Website: www.operahouseplayers.org/
Auditions.html
Appl Deadline: N/A
PACE Center - Parker, CO (Volunteer, EmgPro)
Auds May 12, ‘13 for Sweeney Todd.
Website: www.parkeronline.org/CivicAlerts.
aspx?AID=1018
Appl Deadline: N/A
3 Pensacola Little Theatre - Pensacola, FL
(Volunteer, EmgPro)
Auds Jun 3-5, ‘13 for The Wizard of Oz.
Website: www.pensacolalittletheatre.com/
Auditions
Appl Deadline: N/A
Pentacle Theatre - Salem, OR (Volunteer,
EmgPro)
Auds May 18, ‘13 for The Secret Garden and Aug
24, ‘13 for Into The Woods.
Website: www.pentacletheatre.org
Appl Deadline: N/A
Peoria Players - Peoria, IL (Volunteer, EmgPro)
Auds Jun 15-16, ‘13 for Les Miserables.
Website: www.peoriaplayers.org/
Appl Deadline: N/A
PGT Entertainment - FL (Paid, EmgPro)
Casting singers for cruise ship prod shows.
Website: www.pgtpi.com
Appl Deadline: N/A
Quincy Community Theatre - Quincy, IL
(Volunteer, EmgPro)
Auds May 20-21, ‘13 for 9 to 5, the Musical and
Sep 28-29, ‘13 for The Wizard of Oz.
Website: www.1qct.org
Appl Deadline: N/A
3 Richey Suncoast Theatre - New Port Richey,
FL (Volunteer, EmgPro)
Auds Jun 3-4, ‘13 for Company; Sep 23-24, ‘13
for Pasco Christmas; Dec 9-10, ‘13 for Camelot;
and Feb 17-18, ‘14 for TBA musical.
Website: www.richeysuncoasttheatre.com
Appl Deadline: N/A
3 South Bend Civic Theatre - South Bend, IN
(Volunteer, EmgPro)
Website: www.sbct.org/participate-auditions.php
Appl Deadline: N/A
Southside Theatre Guild - Fairburn, GA
(Volunteer, EmgPro)
Auds May 20-21, ‘13 for All Shook Up.
Website: www.stgplays.com
Appl Deadline: N/A
Springer Opera House - Columbus, GA (Paid,
Pro)
‘13/14 seas auds May 20-22, ‘13.
Website: www.springeroperahouse.org
Appl Deadline: N/A
The Summer Place - Naperville, IL (Volunteer,
EmgPro)
Auds May 5-6, ‘13 for Legally Blonde and May
19-21, ‘13 for Oklahoma!
Website: http://summerplacetheatre.org/
AuditionsJobs/tabid/1088/Default.aspx
Appl Deadline: N/A
Sunset Playhouse - Elm Grove, WI (Volunteer,
EmgPro)
Auds May 21-22, ‘13 for How to Succeed in
Business Without Really Trying.
Website: www.sunsetplayhouse.com
Appl Deadline: N/A
The Theatre Company - Bryan, TX (Volunteer,
EmgPro)
Auds May 12-13, ‘13 for 9 to 5: The Musical, and
Jun 30-Jul 1, ‘13 for Spamalot.
Website: www.theatrecompany.com/auditions/
Appl Deadline: N/A
3 Theatre Winter Haven - Winter Haven, FL
(Volunteer, EmgPro)
Auds May 28-29, ‘13 for Jesus Christ Superstar.
Website: www.theatrewinterhaven.com/
auditions.asp
Appl Deadline: N/A
3 Villagers Theatre - Somerset, NJ (Volunteer,
Student)
Auds May 27-28, ‘13 for Legally Blonde. Seeking
teens btwn the ages of 13-19 only.
Website: www.villagerstheatre.com
Appl Deadline: N/A
3 Wayne Township Community Theatre Indianopolis, IN (Volunteer, EmgPro)
Auds Jun 9-10, ‘13 for Variety! The Musical.
Website: www.wayne.k12.in.us/wtef/auditions.
htm
Contact Info: (317) 988-7958
Appl Deadline: N/A
Woodland Opera House Theatre Company Woodland, CA (Volunteer, EmgPro)
Auds Jun 9-11, ‘13 for Les Miserables.
Website: www.woodlandoperahouse.org
Appl Deadline: N/A
York Little Theatre - York, PA (Volunteer,
EmgPro)
Auds for The Producers (May 13-14, ‘13) and The
Great American Trailer Park Musical (Jun 10-11,
‘13).
Website: http://yltauditions.blogspot.com
Appl Deadline: N/A
Opera Chorus
The Dallas Opera - Dallas, TX (A, Paid, Pro)
Chorus auds for core/auxiliary positions late May/
early Jun.
25th Anniversary
Classical Vocal Reprints
In Celebration of 25 years of service,
we now offer online ordering.
Enjoy:
• Thousands of titles available
• Sheet music available for download
• Secure online ordering
Classical Vocal Reprints
1(800)298-7474
[email protected]
www.classicalvocalrep.com
Auditions
Website: www.dallasopera.org/about/
employment/
Appl Deadline: N/A
3 Michigan Opera Theatre - Detroit, MI (A,
Paid, Pro)
Chorus auds May 22 & 29, 13 for ‘13/14 Seas.
Rep: The Flying Dutchman, La Traviata, A View
from the Bridge, Turandot.
Website: www.michiganopera.org/work-withus/vocal-auditions/
Appl Deadline: N/A
3 Norwegian Opera and Ballet - Oslo, Norway
(A, Paid, Pro)
Prof’l chorus auds May 29, ‘13.
Website: http://delta.hr-manager.net/
ApplicationInit.aspx?cid=256&ProjectId=136596
&DepartmentId=17227&MediaId=2433
3 San Diego Opera - San Diego, CA (A, Paid,
Pro)
‘14 Seas Chorus auds take place Aug 13-21, ‘13.
Website: www.sdopera.com/Company/
Employment
Calgary Opera - Calgary, AB, Canada (B, Paid,
EmgPro)
Chorus auds Jun 3-4, ‘13 for ‘13/14 Seas.
Website: www.calgaryopera.com/about/
chorusandsupers.php
Appl Deadline: N/A
3 Belleayre Festival Opera (Belleayre Music
Festival) - Highmount, NY (D, Paid, EmgPro)
Casting principals, supporting roles and ensemble
for Carmen.
Website: www.donaldwestwood.com
Appl Deadline: N/A
3 Virginia Opera - Norfolk, VA (B, Paid, Pro)
Adult chorus auds May 13-15, ‘13.
Website: www.vaopera.org/about-va-opera/
opportunities.html
Appl Deadline: N/A
Amici Opera - Philadelphia, PA (U, Volunteer,
EmgPro)
Seeking singers for ‘13/14 seas. Need all voice
types, especially tenors!
Opera Columbus - Columbus, OH (C, Paid,
EmgPro)
Auds May 18-19, ‘13 for edu’tnl prog, mainstage
roles and local chorus.
Website: www.operacolumbus.org
Appl Deadline: N/A
3 CT Gilbert & Sullivan Society - Middletown,
CT (U, Volunteer, EmgPro)
Auds Jun 11, ‘13 for Yeomen of the Guard.
Website: ctgands.org
3 Opera Omaha - Omaha, NE (C, Paid, EmgPro)
Chorus auds May 18, ‘13.
Website: www.operaomaha.org/content_pages/
chorus-auditions
Appl Deadline: N/A
Gilbert & Sullivan Yiddish Light Opera Central Islip, NY (U, Volunteer, EmgPro)
Auds for G&S lead and chorus roles.
Website: www.gsyiddish.com
ENJOY YOUR VOICE
Osceola Davis
Lyric Coloratura Soprano
Metropolitan Opera
voice instructor /operatic interpretation
Private lessons / vocal consultation
(718) 796 7195 or [email protected]
3 Light Opera of New Jersey - Basking Ridge,
NJ (U, Volunteer, EmgPro)
Upc seas auds May 21, 23 & 25, ‘13. Rep:
Orpheus in the Underworld, Amahl and the Night
Visitors, The Magic Flute.
Website: www.ridgelightopera.org
Appl Deadline: N/A
Vocal Productions NYC - New York, NY (U,
Volunteer, EmgPro)
Seeking male chorus members for Ernani.
Website: www.vocalproductionsnyc.org
Appl Deadline: N/A
3 Winter Opera Saint Louis - MO (U, Paid,
EmgPro)
Chorus auds May 11-12, ‘13 in St. Louis.
Website: www.winteroperastl.org
Other Chorus
Bach Choir of Pittsburgh - PA (Paid, EmgPro)
Open auds for one seas at a time for volunteer
choir members and a prof’l core of paid singers.
Website: www.bachchoirpittsburgh.org/jointhe-choir
3 Cleveland Orchestra - Cleveland, OH
(Volunteer, EmgPro)
Chorus auds May 20-21, ‘13.
Website: www.clevelandorchestra.com/about/
people/choruses/Auditioning.aspx
Appl Deadline: N/A
3 Highland Park Chorale - Dallas, TX (Paid,
EmgPro)
Aud appts now being accepted for ‘13/14 seas.
Appl Deadline: N/A
Houston Symphony Chorus - Houston, TX
(Volunteer, EmgPro)
Auds May ‘13 for singer/musicians to perform
high level choral/orch rep w/Symphony.
Website: www.houstonsymphony.org
Appl Deadline: N/A
Musaic - San Francisco, CA (Volunteer, EmgPro)
Men’s a cappella ensemble currently aud’ng all
parts, esp basses.
Website: www.musaicsf.org
From Mozart to Puccini…
Learn how to sing with
style, security and beauty
For a limited time receive individual coaching from
world renowned lyric soprano Carol Vaness.
New Trinity Baroque - Atlanta, GA (Paid,
EmgPro)
Accepting mats from all voice types for upc concert
seas as soloists or singers in chamber choir.
Website: newtrinitybaroque.org
3 Paul Delgado Singers - Fullerton, CA
(Volunteer, EmgPro)
Auds May 30-Jun 8, ‘13 for ‘13/14 seas.
Website: www.pauldelgadosingers.org
Contact Info: paul.j.delgado@pauldelgadosingers.
org
The Philadelphia Singers - Philadelphia, PA
(Paid, Pro)
Auds May 6, 11 & 13, ‘13 for upc seas.
Website: www.philadelphiasingers.org/singerresources/auditions.html
3 Piedmont Chamber Singers - WinstonSalem, NC (Volunteer, EmgPro)
Gen’l auds May 14, ‘13 and Aug 20, ‘13.
Website: www.piedmontchambersingers.org
Contact Info: director@piedmontchambersingers.
org
Appl Deadline: N/A
What do singers at the Met,
San Francisco, Chicago, Paris
and Covent Garden share?
April 18-29, 2013
New York City, NY
“I love young singers and I do 100% of my best to
give them as much as I can for their careers! It is a
great joy to see everyone get better!”
Carol Vaness has
over 30 years
experience singing all
over the world.
She is a Master Teacher
at the MET LYAPD
Program and
commitment to
excellence professor of
voice at Indiana Jacob’s
School of Music.
CONTACT: [email protected]
Instruction also available at Indiana University
17th annual
neil semer vocal institute
for professionals and aspiring professionals
perform
in
germany
july 27 august 10
august 14 28
-
and/or
with international voice teacher
Neil Semer, Roberta Cunningham and
coaches from European opera houses.
Limited to 20 singers. For more info:
www.neilsemer.com
212-265-6454
neilsemer @aol.com
-
sing for agents
& casting people
italian school
vocal training
master classes
audition
workshops
public
performances
reasonably priced
Auditions
3 Pittsburgh Camerata - Pittsburgh, PA (Paid,
Pro)
Auds through May ‘13 for ‘13/14 Seas.
Website: http://pittsburghcamerata.org/
auditions
Appl Deadline: N/A
San Francisco Choral Artists - San Francisco,
CA (Paid, EmgPro)
Interested in hearing talented singers of all voices,
especially low basses.
Website: www.sfca.org/about-auditions.php
Portland Symphonic Choir - Portland, OR (Paid,
EmgPro)
Open auds for paid staff singer subs.
Website: www.pschoir.org
The United States Army Band “Pershing’s
Own” - Ft. Meyer, VA (Paid, Pro)
Auds Jun 18, ‘13 for bass vocalist.
Website: www.usarmyband.com/jobs/
vacancy_-_bass_vocalist_-_army_chorus.html
Contact Info: (703) 696-0206
The Princeton Singers - Princeton, NJ (Paid,
Pro)
Seeking vocalists of all voice parts.
Website: www.princetonsingers.org
Providence Singers - East Providence, RI
(Volunteer, EmgPro)
Chorus auds for ‘13/14 seas ongoing through
summer.
Website: www.providencesingers.org
Revels - Watertown, MA (Volunteer, EmgPro)
Auds May 5-6, ‘13 for The Christmas Revels.
Website: www.revels.org/get-involved/auditions
Appl Deadline: N/A
Sacra/Profana - CA (Paid, EmgPro)
Auds throughout yr by appt.
Website: www.sacraprofana.org
3 Vancouver Chamber Choir - Vancouver, BC,
Canada (Paid, Pro)
Auds throughout/yr for prof’l singers.
Website: www.vancouverchamberchoir.com
Contact Info: auditions@
vancouverchamberchoir.com
VocalEssence - Minneapolis, MN (Paid, Pro)
Auds Apr 14-May 30, ‘13 for Ensemble Singers &
Volunteer Chorus.
Website: www.vocalessence.org/audition
Appl Deadline: N/A
Teaching Positions
3 Central State University - Wilberforce, OH
(Paid)
Seeking Asst Prof of Voice.
Website: https://careers.centralstate.edu/
postings/2503
Appl Deadline: Until filled
Other
Amici Opera - Philadelphia, PA (U, Paid, EmgPro)
Seeking accomps for ‘13/14 seas.
OperaOggiNY - New York, NY (U, Volunteer,
EmgPro)
Currently seeking accomp applicants for ‘13
Apprentice Pianist Prog.
Website: www.operaogginy.info
Seattle Opera - Seattle, WA (A, Volunteer,
Student)
Currently accepting internship appls in Prod/
Admin, Stage Mngmnt, Costume Stock, Edu’tn
and Development.
Website: www.seattleopera.org/about/
employment/internships.aspx
Stiletto Entertainment - Los Angeles, CA (Paid,
Pro)
Seeking luxury cruise ship performers w/
Broadway, national tour or legit opera credits.
Website: www.stilettoentertainment.com/
cruiseship/audition.cfm
Contact Info: jnadeau@stilettoentertainment.
com
3 WFMT Introductions - Chicago, IL (Student,
Volunteer)
Seeking pre-college classical soloists, duos,
choirs, small ensembles and large ensembles for
98.7WFMT radio broadcast.
Website: http://blogs.wfmt.com/introductions/
audition/
Competitions
Coordinator: Kimberlee Talbot
Email: [email protected]
Website: www.classicalsinger.com/directories/competition/
If you have any problems w/a published competition
notice, please contact Kimberlee Talbot immediately
at [email protected]. We do not
publish notices from companies w/unresolved
complaints.
3 = New Notice This Issue
The audition and competition listings in Classical Singer
magazine come from our online audition management
tool Auditions Plus. With Auditions Plus you can find,
save, manage, and track all types of singing opportunities. More than 1,400 job postings, training program opportunities, volunteer positions and educational listings
are available on AuditionsPlus.com, including more than
400 audition and competition listings. Auditions Plus is
free for all Classical Singer subscribers. Find and post
opportunities today!
Grants, Awards & Misc.
Funding
3 15th Young Alaskan Artist Award - Anchorage,
AK
Sponsored By: Anchorage Festival of Music
Age Limit: N/A
Website: www.anchoragefestivalmusic.com/
yaapplication.htm
2013 Ernest Empson Scholarship - Christchurch,
New Zealand
Sponsored By: Christchurch Civic Music Council
Age Limit: 23
Website: http://musiccanterbury.co.nz/competitions/
ernest-empson-scholarship/
Arleen Auger Memorial Fund
Age Limit: 30
Website: www.arleen-auger-memorial-fund.org/
application.html
Artist Development Grants - Montpelier, VT
Sponsored By: Vermont Arts Council
Age Limit: N/A
Website: www.vermontartscouncil.org/Portals/0/
tabid/82/Default.aspx
3 Dutch Classical Talent Tour & Award Amsterdam, Netherlands
Sponsored By: Dutch Classical Talent
Competition Date: Oct 21-22, Nov 2, ‘13
Age Limit: 30
Website: www.dutchclassicaltalent.nl/overig/english
Appl Deadline: Sep 20, ‘13
3 Fulbright Grants Competition
Sponsored By: Institute of International Education
Age Limit: N/A
Website: http://us.fulbrightonline.org/applicants
Appl Deadline: Oct 15, ‘13
3 HFSO Guild Voice Award - Hamilton, OH
Sponsored By: Hamilton-Fairfield Symphony Guild
Age Limit: 18
Website: http://hfso.org/activities/
Kath Topping Award for Vocal Studies 2013 - Kent,
UK
Sponsored By: Kent Chamber Choir
Age Limit: 23
Website: www.kentchamberchoir.org.uk
No Age Limit/Unknown
2nd Annual Teaneck Cabaret Competition Teaneck, NJ
Sponsored By: Mort and Ray Productions
Competition Date: May 27, ‘13
Website: www.mortandray.com
5th Ernest Bloch Music Competition - London, UK
Sponsored By: Ernest Bloch Music Competition
Website: www.israelimusiccompetition.org/
10th Annual Mario Lanza Vocal Competition - New
York, NY
Sponsored By: Mort and Ray Productions
Website: www.mortandray.com
15th Music Competition “Euterpe” - Corato, Italy
Sponsored By: Concorso di Musica Euterpe
Competition Date: May 25-Jun 2, ‘13
Website: www.concorsoeuterpe.it/index.php/en/
16th International Competition of Music “Pietro
Argento” - Gioia del Colle, Italy
Sponsored By: Association Daniele Lobefaro of Gioia
del Colle
Competition Date: May 28- Jun 2, ‘13
Website: www.concorsoargento.it/PagInterne/Bando.
asp
3 20th International Johannes Brahms
Competition - Poertschach, Austria
Sponsored By: Johannes Brahms Competition
Competition Date: Aug 30-Sep 8, ‘13
Website: http://2013.brahmscompetition.org/?page_
id=1〈=en
2013 Altamura Caruso International Voice
Competition - New York, NY
Sponsored By: Inter-Cities Performing Arts, Inc.
Competition Date: Oct 3-4 & 6, ‘13
Website: www.altocanto.org
3 2013 International Auditions - New York, NY
Sponsored By: Young Concert Artists
Competition Date: Nov 5-7 & 9, ‘13
Website: www.yca.org/auditions/
Appl Deadline: Aug 27, ‘13
2013 Mary Trueman Vocal Arts Competition - New
York, NY
Sponsored By: Art Song Preservation Society of New
York
Website: www.artsongpreservationsocietyny.
org/2013-asps-master-application.html
3 2013 MOCSA Young Welsh Singer of the Year
Competition - Swansea, UK
Sponsored By: Morriston Orpheus Choir and
Supporters’ Association
Competition Date: Sep 29, ‘13
Website: www.morristonorpheus.com/young-welshsinger-of-the-year-competition/
3 Australian Concerto & Vocal Competition Townsville, QLD, Australia
Sponsored By: Australian Concerto & Vocal
Competition, Inc.
Competition Date: Jul 19-23, ‘13
Website: www.ausconcertovocal.com/
3 Emmy Destinn Young Singers Awards 2013 London, UK
Sponsored By: Emmy Destinn Foundation
Website: www.destinn.com/#/awardsentry/4523141577
3 Grand Voci 2013 - Salzburg, Austria
Sponsored By: Oper im Berg Festival
Competition Date: Aug 21-24, ‘13
Website: www.operimbergfestival.com/grandi-voci/
invitation-2013/index.php
3 NJAVO 25th Annual Vocal Competition - Fort
Lee, NJ
Sponsored By: New Jersey Association of Verismo
Opera
Competition Date: Nov 4, 6, 8- 9, 11, 13, 16, & 18,
‘13
Website: www.njavo.org/vocalcomp.html
Appl Deadline: Nov 1, ‘13
3 PNE Star Showdown - Vancouver, BC, Canada
Sponsored By: Pacific National Exhibition
Website: www.pne.ca/starshowdown/index.html
Age 18 and Under
Audray Competition for Young Singers - New York,
NY
Sponsored By: Audray School of Singing
Competition Date: Dec 1, ‘13
Age Limit: 17
Website: www.audrayschool.com
Appl Deadline: Nov 29, ‘13
Schmidt Youth Vocal Competition
Sponsored By: William E. Schmidt Foundation
Age Limit: 18
Website: www.schmidtcompetition.org/competition.
shtml
Age 25 and Under
3rd Annual Music Competition - Scarsdale, NY
Sponsored By: New York Chamber Players
Competition Date: Jun 9, ‘13
Age Limit: 21
Website: http://newyorkchamberplayers.org/new_
york_chamber_players_music_competition
3 2013 Portland Rossini Club Scholarship Competitions - Portland, ME
Sponsored By: Portland Rossini Club
Age Limit: 25
Website: www.rossiniclub.org/Scholarship-Competitions.html
3 The Keller Concert Competition - Lafayette, IN
Sponsored By: Lafayette Symphony Orchestra
Age Limit: 22
Website: www.lafayettesymphony.org/community.php
Age 30 and Under
3 2013 Mario Lanza Institute Scholarship - Philadelphia, PA
Sponsored By: Mario Lanza Institute
Competition Date: Oct 21-22, ‘13, Nov 3, ‘13
Age Limit: 28
Website: www.mariolanzainstitute.org/programs/scholarships/apply-forscholarship/
Appl Deadline: Oct 12, ‘13
3 The Ljunggren Competition for Young Musicians - Göteborg, Sweden
Sponsored By: The Ebba och Gustaf Ljunggren Memorial Foundation
Competition Date: Oct 5-6, ‘13
Age Limit: 29
Website: www.hsm.gu.se/english/cooperation/the_ljunggren_competition/
Age 35 and Under
4th International Singing Competition for Baroque Opera Pietro Antonio
Cesti 2013 - Innsbruck, Austria
Sponsored By: Innsbruck Festival of Early Music
Competition Date: Aug 11-16, ‘13
Age Limit: (M) 33; (F) 31
Website: www.altemusik.at/en/singing-competition/cesti-singing-competition/
entry-conditions-rules/
6th Israeli Music Competition - London, UK
Sponsored By: Israeli Music Competition
Age Limit: 35
Website: www.israelimusiccompetition.org/
12th Czech and Slovak International Music Competition of Montreal - Green
Bay, WI, USA/Montréal, QC, Canada
Sponsored By: Théâtre Lyrichorégra 20 & University of Wisconsin, Green Bay
Competition Date: Sep 28-29, ‘13, Oct 2-4, ‘13
Age Limit: 34
NEW CUSTOM-DESIGNED
MUSIC FACILITY IN NEW YORK CITY
• 10 vocal studios — perfect for lessons •
• Recital, ensemble and rehearsal spaces •
CZECH AND SLOVAK INTERNATIONAL vOICE
COMPETITION OF MONTREAL
• All pianos tuned weekly •
• Fully equipped audio/visual recording studio •
• Competitive rates •
CONCOURS INTERNATIONAL DE CHANT
TCHÈQUE ET SLOVAQUE DE MONTRÉAL
12e édition/ 12th edition
GREEN BAY, WI (USA) - MONTRÉAL, QC (CANADA)
VOIX / VOICE
28 septembre au 4 octobre 2013 / September 28th to October 4th, 2013
15 000 $ en prix et bourses / $15,000 in prizes and bursaries
ainsi que des concerts / as well as concerts
Premier éliminatoire et demi-finale / First Round and Semi-Final
University of Wisconsin - Green Bay, Wisconsin (États-Unis / United States)
les 28 et 29 septembre 2013 / September 28th and 29th, 2013
Montréal, Québec (Canada)
les 2 et 3 octobre 2013 / October 2nd and 3rd, 2013
Finale / Final Round
le 4 octobre 2013 / October 4th, 2013
Concert Gala / Gala Concert
le 4 octobre 2013 / October 4th, 2013
organisé par / organized by
Théâtre Lyrichorégra 20, Montréal, QC (Canada)
University of Wisconsin, Green Bay, WI (USA)
Avec le soutien de / With the support of
Ministère des Affaires Étrangères de la République tchèque, Ministère de la Culture de la République tchèque
Fondation Sharon Chmel Resch, Fondation Velan, Fonds Antonin Dvorak de Montréal
Maison Slovaque, J. Slaba
Théâtre Lyrichorégra 20 – http://lyrichoregra20.wifeo.com/
University of Wisconsin – Green Bay – www.uwgb.edu/international/music/
Reservations and information:
operaamerica.org/operacenter
212-796-8630 | [email protected]
330 Seventh Avenue (at 29th Street)
New York City
Conveniently located near Penn Station,
Amtrak, airport shuttles and suburban trains.
The National Opera Center is owned and operated
by OPERA America, building on more than 40 years
of experience serving and leading the industry.
OPERA America March 2013 ad for Classical Singer Ad.indd 1
3/28/2013 9:32:52 AM
Competitions
Website: http://lyrichoregra20.wifeo.com/
32nd International Hans Gabor Belvedere Singing Competition 2013 - Vienna,
Austria
Sponsored By: Belvedere Singing Competition
Competition Date: Jun 29-Jul 6, ‘13
Age Limit: 32
Website: www.belvedere-competition.com
Appl Deadline: Varies by location
3 2013 Montserrat Caballé International Singing Competition - Zaragoza,
Spain
Sponsored By: Montserrat Caballé International Singing Competition
Competition Date: Sep 8-14, ‘13
Age Limit: 33
Website: www.concursocaballe.org/bases_inscripciones_condiciones.asp
3 2013 Vocal Competition - New York, NY
Sponsored By: Opera Index, Inc.
Age Limit: 35
Website: www.operaindexinc.org/singers/index.html
Intensive
and
MUSICAL THEATRE
Intensive
International Opera Singing Competition Bulgaria - Sofia, Bulgaria
Sponsored By: Euterpe Rose of Karlovo
Competition Date: Sep 16-22, ‘13
Age Limit: (M) 35; (F) 33
Website: www.teleworksofia.com/
2013 Summer Program
Our Mission
MEZZO-SOPRANO
Pre-Professional
Summer Music Intensive
July 8th – August 4th $1500
Soloist for 14 seasons with The Metropolitan Opera and
International Opera Houses, 150 solo recitals, Broadway
PHOTO: PETER BEARD
★ Vocal Study: The Juilliard School, Beverly Johnson, and private study
with Marlena Malas
★ Drama Study: Herbert Berghof and Katharine Hepburn
★ Dance Study: Martha Graham
★ Yoga Study: Two Certifications: Hatha Yoga and Kundalini Yoga
[email protected]
by Appointment
is to train our students to become first-class performing artists.
We help cultivate talents in a wide range of orchestral and musical disciples to
better prepare attendees for a versatile professional career.
Discover the freedom, power, and beauty of your voice with
www.brendaboozer.com
3rd International Respighi Prize Competition for Composers & Soloists New York, NY
Sponsored By: Chamber Orchestra of New York
Age Limit: 39
Website: www.chamberorchestraofnewyork.org/respighi_prize_competition.html
PRE-PROFESSIONAL
SUMMER MUSIC
Handel Aria Competition - Madison, WI
Sponsored By: Madison Early Music Festival
Competition Date: Jul 8, ‘13
Age Limit: 35
Website: www.madisonearlymusic.org
For private study call (828) 773-1687
Age 40 and Under
Riccardo Zandonai International Competition - Riva del Garda, Italy
Sponsored By: Associazione Musica Riva
Age Limit: 36
Website: www.musicarivafestival.com
3 Brian Law Opera Competition - Ottawa, ON, Canada
Sponsored By: National Capital Opera Society
Competition Date: Nov 9, ‘13
Age Limit: 32
Website: www.ncos.ca/WebPages/e/competition/competition.html
Vocal Studio locations in NYC, Westchester, and
summers in North Carolina.
Paris Opera Competition 2013-2014 - Paris, France
Sponsored By: Paris Opera Competition
Age Limit: 35
Website: www.ciopera.com/page/38
17th International Opera Singing Competition - Trujillo, Peru
Sponsored By: Cultural Promotion Centre and Provincial Municipality of Trujillo
Competition Date: Nov 6-14, ‘13
Age Limit: 38
Website: www.concursocantotrujillo.org/concurso.html
Auditions Plus Vocal Competition - Boston, MA
Sponsored By: Classical Singer
Age Limit: 32
Website: www.classicalsinger.com/convention/competition
BRENDA BOOZER
3 Nadia and Lili Boulanger International Voice-Piano Competition 2013 Paris, France
Sponsored By: Nadia and Lili Boulanger International Centre
Competition Date: Nov 7-10, ‘13
Age Limit: 33
Website: www.cnlb.fr/enb/concours/prochain.html
Musical Theatre Intensive
July 8th – August 3rd $1250
Molloy College
Madison Theatre
1000 Hempstead Ave
Rockville Centre, NY 11571
www.madisontheatreny.org
Students ages 9 and up. • Auditions: Send a 3 minute tape or
For all • Eligibility:
20 students per age group.
contact 516.678.5000 ext 7713 or
9 to 12 / 13 to 17
to audition
in person. Must call to schedule.
Programs 18 and Up (Audition Required) [email protected]
shine
where excellence comes to
Superior conservatory training at a world-class research university.
Prestigious, resident faculty and exceptional student talent.
It’s all here: www.music.umich.edu
New England Conservatory is full of transformative experiences.
Starting this September, studying with Jane Eaglen is one of them.
NEC offers one of the world’s most distinguished voice faculties,
and we are proud to welcome Jane Eaglen, a leading Wagnerian soprano
of the modern era, to this celebrated group.
At NEC, you’ll enjoy amazing relationships with your teachers—
Ms. Eaglen and colleagues—as part of a rich, supportive,
dynamic community. And you’ll perform in
world-renowned Jordan Hall and on Boston’s best opera stages.
It’s a remarkable environment with ample,
developmentally appropriate opportunities for all vocalists—
both undergraduate and graduate. See our full list of voice and
opera artist-faculty members at necmusic.edu/faculty.

Sandra Piques Eddy

Transcription

Similar documents

adult test 2016 d1 clues

baroque with contemporary twist – a la john galliano!

music from prague

Kenton Coe (continued) - Magazine for the Arts

chandelier - ZFX Flying Effects

Summer Graduate Courses Flier

A brief guide to Vadstena Academy

and present

Silver Rose Ball lepoello