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Aug. 22nd, 2008 @ 03:06 am Summer Music Programs
Now would be a great time to give any feedback regarding summer programs that you participated in...........


I just returned from Weimar, Germany and was a participant in the Lyric Opera Studio of Weimar.  This was the first official summer that the program began and it proved both rewarding and challenging all at the same time. The director, Damon Nestor Ploumis, is an opera singer himself and offers valuable advice that is pertinent to today's up and coming singers. The program is divided into two sections: the casts for the opera and the people who are preparing opera scenes.  The opera was triple cast, and there were understudies for the female roles.  You rehearse, go to coachings, stagings, 6 days of the week, with Sundays off.
The program costs are comparable to anything you would find in the States, the difference is that you are also paying for the experience of living in an East German city that is rich with historical and cultural significance.

PROS: 1. You get to work on an entire role
              2. You get to perform the entire role
             3. You have an opportunity to do agent auditions
             4. You get career advice and tips to audition for European opera houses
             5. Weimar is a wonderful cultural center.
           

CONS:  1. You don't have a lot of time to work on other repertoire.
               2. There are no voice teachers to study with.
              3.  You spend all of your time working on the opera and have little if no time to partake in local tourist    attractions.
              4. The German Language Classes are only 40 minutes long.

The program is small (22 singers), so you do get to know everyone and they get to know you.  The program will get better each year it runs, this year was a bit trying, since everything was new, but I have great confidence that it will someday be a program that hold its own amidst the more popular summer intensive programs.
Notes
sopranoren:
Mar. 9th, 2008 @ 04:52 pm First post!
 Question: I'm in music school and doing some research. I'm trying to find a list of sopranos that are generally considered "sfogato" sopranos. I can't seem to find a definitive list - mostly of my sources group all the high sopranos together as lyric or dramatic coloraturas. If anyone has experience/opinions/sources to share, I'd appreciate it. Thanks in advance.
Notes
Metellicar
sowell:
Jan. 11th, 2008 @ 11:41 am RECITALS, PERFORMANCES, PERSONAL GOALS
Current Mood: creativecreative
Please list any recitals, performances, or personal musical goals you have for this year.
I'm sure we all will be supportive and cheer each other on to your goals! 
Notes
sopranoren:
Feb. 8th, 2007 @ 09:46 am advice?!
Current Mood: nervousnervous
hi there! i've just joined this community, and i need a bit of advice!

i'm and alto and i've been choral singing since i was about 14, but haven't done any since i left university 3 and a half years ago (i studied music at university and did a lot of group singing there in madrigal groups and so on).

at the end of january, the belfast philharmonic choir (for i am based in northern ireland) did a 'come and sing' event where we got together on a saturday morning, rehearsed the mozart requiem, and then performed it in the afternoon. i enjoyed singing again so much i put my name down to audition for the choir.

i went to my first rehearsal on tuesday night, where i'd been told i'd be sitting in and then auditioning either in the break or after the rehearsal, so i assumed all they'd be asking me to do would be sight sing and do a pitch and range test.

what actually happened was that i sat in, and then arranged an audition after the rehearsal, and i have to sing a prepared piece as well as all the other bits! i've never had to audition for a choir before - i've either joined one that doesn't require rehearsals or else have been invited by someone who knew my abilities - and haven't a clue what to sing!

i audition on 27th february, so i've got about 3 weeks to come up with something - has anyone any suggestions?
Notes
shangri-las
meerium:
Aug. 24th, 2006 @ 03:08 pm Some philosophy of opera
Current Mood: thoughtfulthoughtful
Recently I sat for a few moments of creature comfort relaxation with Richard Dawkins' "A Devil's Chaplain," for some intellectual illumination and escapism. (My mind is a-blur with computer stuff of late, so this really is escapism!)

In any case, I was reading Dawkins' excellent and successful deconstruction of cultural relativism, when a strange line of thought wended its way into my mind.

What the heck is he talking about? Read on...
Notes
Wrapped aria
so_il_singer:
Apr. 5th, 2006 @ 07:58 pm x-posted
PLUG!Collapse )
Please, if you're in the area, we could really use the support!!
Notes
Matsuda/Sayu
honoumiko:
Nov. 17th, 2005 @ 05:41 pm X-posted
If anyone's in the New England area, you might be interested in the following:
A Joyful Noise - Handel's Messiah Part OneCollapse )

I'm in the Chamber Singers, so if anyone is anywhere near any of the locations listed, please consider seeing it; it's going to be great.
Notes
Matsuda/Sayu
honoumiko:
Oct. 31st, 2005 @ 05:08 pm x-posted
Does anyone know if there's a version of Solveig's Song by Grieg - IN NORWEGIAN - that isn't this expensive collection? http://www.sheetmusicplus.com/store/smp_detail.html?cart=333976653911753342&item=4374897
I saw that and got incredibly frustrated.
Notes
Matsuda/Sayu
honoumiko:
Sep. 21st, 2005 @ 06:20 pm Rep suggestions
Hi everyone, I was just wondering if anyone out there could suggest some appropriate German & French art song rep for baritone. I have a new student, who happens to be a baritone, and where I am a soprano I really don't know what sorts of things would work well for him. He's a third year university student (so about 20 years old I'd say), and he's been studying voice for a few years. I just started working with him as part of the pedagogy component of my MMus degree, but I'm not really used to teaching male singers. Any suggestions would be greatly appreciated!!

Thanks :)
Notes
always thinking
forget_my_fate:
Sep. 6th, 2005 @ 05:25 pm (no subject)
Current Mood: anxiousanxious
I'm a soprano, and I've lately been having trouble with any note from E flat to A (two above middle c). I've been told that I should put corners on my mouth shape, and also that I should always show my teeth; when I show my teeth too much, I have a very bright sound, and I dunno if I like it, or if it's avoidable. I always like how I sound when I sing "In my Life" from Les Mis, but I realize that when I get to "does he know I'm alive" I can only hit the notes well because they're quick; I have a lot of trouble with sustained notes in said range, and I feel like I'm walking on eggs. I've also been having trouble putting consistent vibrato throughout my range; and I feel a lot more secure on a straight tone if I'm in E flat to A... however, I feel a heck of a lot more tense. I also seem to get vocally tired a lot quicker (although I'm not sure if it's because I'm slightly out of shape and need to get back into the swing of things... I'm not just tired, I feel weaker, as if I've been coughing too much, which usually doesn't happen). I didn't have time in my voice lesson today to bring it up, does anyone have any suggestions? What's everyone's opinion on having a very closed smile shape up around F to A? That seems to work, but I need to get a tape recorder to see how it sounds outside of my head.
Notes
Matsuda/Sayu
honoumiko: