Talking with singers: Russell Thomas

Interview

He considers the impetus for professional singing a simple one, through those moments of encouragement as a teenager in school. Yet when asked why he still sings, Thomas nods to the freedom he finds onstage. "I could escape my own life by trying to be somebody else. And that's the reason why I still do it now, because it's the escape from all of my own baggage."

In review: Hannigan & Gražinytė-Tyla at the BBC Proms

Review

Abrahamsen's score is full of novel and surreal sounds, including an extraordinary moment of what feels like a heavenly choir and orchestra, shimmering with texture and treats for the ear. Throughout the score is a vocal motif, stretching words through repeated syllables, almost like a slow-motion version of a Baroque goat-trill.

Free webinar: Alexander Technique & the voice

News

This Saturday, September 3 at 1-2:30 PDT, Conklin will give a free webinar about Alexander Technique, and she'll share some of the work she does with performers and athletes. "Vocal, musical and performance skills are synergized in a coordinated, continual flow," she writes. "In short, I will show a simple and potent process that is an invaluable tool for performers."

Talking with singers: Christopher Purves

Interview

"He knows exactly, with one look or brief conversation with a person, he knows exactly what their sexual proclivities are, and he knows exactly what they would like to do." Paired with confidence and unhindered by morals, Giovanni is free to say, "I'm gonna shag her, I'm going to screw this woman."

Don't miss: Rhiannon Giddens at Merkin Concert Hall

News

As the world of opera moves toward chamber-sized orchestras and intimate venues, the world of art song moves in closer. Companies like the Canadian Art Song Project and Against the Grain Theatre have wowed audiences with reimagined art song, and so it's an exciting thing to find a supportive organization like Sparks & Wiry Cries that will foster performances and new works.

New operas: Craig Bohmler's Riders of the Purple Sage

Interview

"For me, it is important to make an audience comfortable before we take them on an unexpected journey. My mentor Carlisle Floyd says that if an audience has a vocabulary of 200 words, give them those words plus 200 they don't know. I have stood by that in all of my writing."

Don't miss: Encounter with Sondra Radvanovsky

News

Singers, sign up now; you don't want to pass on the chance to work with Radvanovsky, whose career speaks for itself. For singer fans, the October 22nd concert is a great chance to hear new voices at exciting stages of their development.

Dear me: advice to my freshman self

Op-ed

At the end of the day, there are certain things that you will not able to control, no matter how much you practice; and no matter how solid your technique is, you will hear, "no". You cannot take it personally, the thicker your skin is, the better you will fare. It will make the "yeses" you hear even sweeter.

United we stand, divided we fall

Op-ed

So, the next time you get hit with a flash of "inspiration" to change something during the middle of a live show, STOP! Take a moment to consider the consequences of your potential actions as well as who they might impact. Nine times out of ten, you'll put more than just your own career at risk; ten times out of ten, you’ll always put your own career at risk.

Familiar & exotic: a brief history of Bellini's Norma

Op-ed

For British audiences, the Druids were a healthy dose of exoticism; still, the connection to the ancient societies of their own land likely held some form of national and cultural pride. Perhaps it was just enough mystery to pique interest in Norma, and just enough familiarity to easily identify with the values and decisions of the characters.