![]() ![]() ![]() Most young singers with an opera career in mind have to find performance opportunities and effectively manage their own career development, hoping to develop essential skills. Even in the state-subsidised German-language opera houses – a traditional training ground – full-time ensembles of principal singers are rapidly being curtailed or even disappearing. This has changed completely for most young singers today. Gradually, the most talented of these young singers moved on to more challenging roles, and then onto bigger and more highly profiled theatres. A sympathetic management would nurture these young voices, only casting them in roles when ready to face the challenges. In earlier generations, most singers after finishing their training would join an opera company, singing small roles and covering larger ones. The traditional path to a substantial operatic career has changed radically. ![]() Without any amplification, is the voice going to project over this ‘wall’ of sound? Those moments just before an entrance, when suddenly the mind seems blank, pulse racing, dry throat constricted, are faced by every singer early in their careers. The ultimate operatic test is to stand on stage, a large orchestra in the pit in front of one, and confront the demons. They sing the occasional opera aria, frequently transposed into a more comfortable vocal register, but they have never come within cooee of an opera stage. The bane of ‘legitimate’ opera singers’ lives are singers on television talent shows, many of whom describe themselves as ‘opera singers’. The real test of an opera singer is how they sound in an opera theatre. ![]()
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