Singers: here's how to use social media

How-to

Social media is...what? Handy? A headache? Free self-promotion? It can be all of those things, but more than anything, it's a necessity. We know that lots and lots of opera singers are on Facebook and Twitter, and it's completely changed the way we see the business.

How to lead your pianist

How-to

Singers, how much do you love auditions? I know you're all troopers, experts at the art of wowing someone in two arias or less. It's really all about making your way through the huge list of Things You Can't Control. Often, one of those things is the prowess of your audition accompanist.

Is opera really for everyone?

Op-ed

You might have read the recent interview in *The Courrier-Journal* with Eric Owens and Morris Robinson, who sing King Philip II and the Grand Inquisitor in Opera Philadelphia's upcoming Don Carlo. Mike Silverman asks them about the "challenges of being a black opera singer." It struck me, though, that while barriers like race have dissipated quickly, an opera career can still be contingent on a few factors, many of which fall under "luck of the draw."

Singers: here's what you need to know about your website

Editorial

Singers, I know you've heard this before, but seriously, you all need to get websites. Some of you don't have websites, or Twitter accounts, or Facebook pages. I'd name names, but you're not on the Internet.

Speaking of Freddie Mercury...

I was watching Freddie Mercury videos earlier today, in research for my recent post about music videos and opera. So, I just want to make sure everyone has seen this. Freddie Mercury sings "Barcelona" with Montserrat Caballé, released in 1988. Freddie looks so dapper, and Monserrat is hamming it up. I love it.

Why directing opera is like directing music videos (sort of)

Humour

It occurred to me that directing a music video has a lot in common with directing an opera. The music video director starts with basically the same tools as the opera director: they're working with music and words. There are endless ways a director can visualize a song, and music videos have evolved from relatively simple videorecordings of an artist playing or singing (think an in-concert opera), to full-on short films, born out of a great song (a little bit like opera directors who stage oratorio or song cycles).

In review: The Barber of Seville at the COC

Review

I went yesterday afternoon to see The Barber of Seville at the Four Seasons Centre. The anticipation was serious, especially since I was able to see the director's concept discussion, and I interviewed three singers from the cast, Joshua Hopkins, Alek Shrader, and Serena Malfi.

Dr. John Suk, Minister of the LPCC: "This is a huge shock."

Editorial

As the Valentina Lisitsa topic rambles on, I was fortunate to be able to speak with Dr. John Suk, Minister at Lawrence Park Community Church. After Lisitsa's TSO performances were cancelled, she announced on Twitter that she would be performing instead at the LPCC on April 10th. The catch: no one booked the church.

Talking with Counts: Alek Shrader

Interview

The Barber of Seville opened last night at the Canadian Opera Company, kicking off a 13-show run until May 22nd. I spoke with American tenor Alek Shrader before rehearsal one day, to ask about singing Count Almaviva, and making his Canadian debut.

Kristen Seikaly on how to learn a role

Op-ed

Whether you are just learning your first role or seasoning your role-learning technique, this guide is intended to help you with learning an operatic role as efficiently and painlessly as possible. I hope that you will share with me any tips and tricks that I have not mentioned here.