Classical Singer

Mary Kelly Oct 5, 2026 In 2019, I was invited to be stage director on Das Rheingold with an opera program here in Berlin, Germany. As a theatre-maker, director, playwright, and actor—and lover of opera—I was delighted by the opportunity. I consulted an experienced opera stage director on a trip home to Ireland, and his first piece of advice was “you don’t have time to be awestruck by what they can do.” On returning to Berlin, I learned that I’d have two weeks to rehearse three casts.

Brian Manternach Oct 5, 2026 Tony-nominated composer and lyricist Craig Carnelia offers insights on acting for musical theatre performers. Musical theatre aficionados may well recognize the name Craig Carnelia, whose significant credits span many decades. Carnelia wrote multiple songs for the Tony-nominated production Working (1978), which featured contributions from artists such as Stephen Schwartz and James Taylor.

Alli Simper Sep 28, 2026 It started with an almost-missed opportunity. Emmeline Sevey was a senior at Spalding High School in Rochester, New Hampshire, where she was involved in nearly every ensemble her school offered, plus the school musical every year. “I was the most involved high school music kid ever,” she said. “I was in pretty much every ensemble except for, like, two.” But that year, the musical didn’t excite her the way it normally did.

James Aston Sep 24, 2026 In the case study below, Dr. Aston continues his exploration of voice burnout from his column in our last issue. If you read part 1, you know what’s going to treat Muscle Tension Dysphonia (MTD), but how do we prevent it in the first place? Think of prevention as a “stress-rest” formula. For every singer, the equation is simple but powerful: Load minus Recovery equals Adaptation (Load – Recovery=Adaptation).

Brian Manternach Sep 24, 2026 A recently published, collaboratively written volume reimagines traditional ways of teaching. Within the field of voice pedagogy, there is a plethora of methodologies, approaches, and systems that teachers can draw from when working in the studio. From traditional to contemporary, image based to science focused, and all things in between, there is no shortage of guides on what to teach. How we should teach, however, has gotten less attention.

Daiyao Zhong Sep 24, 2026 Planning your portfolio materials ahead saves a lot of time and headaches. Learn from this month’s column ways to build your portfolio well before a deadline approaches. Have you ever found yourself racing toward an opportunity deadline only to realize your professional materials are nowhere near ready? Your biography hasn’t been updated in years.

Peter Thoresen Sep 24, 2026 Auditions and recordings can lead singers down a perfectionism rabbit hole. In this month’s column, learn some strategies for positive self-talk to keep anxiety in check. “I’m Peter. I breathe well. I know my words. I’m prepared.” “Go on,” she instructs. “More?” I ask, feeling a little embarrassed but willing to try anything. “Yes,” she answers gently, but certainly. “OK.” I shake out my posture and continue… “I’m Peter. I look nice.

Gregory Zavracky Sep 24, 2026 Singers should approach their training the same way that endurance athletes do, starting at the earliest stages of their studies. Read on for tips to build endurance in your singing practice. Singers are endurance athletes. Akin to an endurance sport, singing requires stamina, consistency, and finely tuned muscular movement. Recitals, concerts, and operas require sustained, high-intensity singing at lengths of time similar to half marathons and marathons.

Anastasia Inniss Sep 24, 2026 The realities of abuse in the performing arts is upsetting, yet singers should be informed about these issues as they begin their careers. In September 2013, I was accepted into Montserrat Caballé’s Zaragoza masterclass. I was completely star-struck: she was my idol. In my mind, she could do no wrong. Until I met her.

Bradley Williams Sep 24, 2026 A trial lesson begins long before the lesson itself. The first audition is often the email that arrives in a faculty member’s inbox. Each year, voice faculty receive numerous emails from prospective undergraduate and graduate students seeking information about programs, auditions, and requesting trial lessons. While most students focus on repertoire preparation, many overlook a crucial first impression: the introductory email.