Some suggestions for opera stage directors, courtesy of Parterre Box and Mr. James Jordan…
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In recent years I’ve started teaching voice privately, both at home and occasionally when I’m away on gigs. It has been an illuminating experience, learning to articulate and explain the various elements of vocal technique in ways that make sense to a beginning singer or to an up-and-coming young professional.
Read MoreBaritone Grant Youngblood commands the stage this summer as Horace Tabor in the 60th anniversary production of The Ballad of Baby Doe. On this episode, recorded a few days after Opening Night in July, Grant shares his thoughts on this iconic Colorado silver king, including his theory as to why Horace left Augusta for Baby Doe.
Read MoreWhen I do masterclasses or career talks with young singers, I will sometimes go through a list of what I call “necessary skills” if you intend to pursue a career as a professional singer. One question I'm frequently asked is, “How can you sing if you don't feel well? How can you sing classical music if you have a cold!?”
Read MoreI recently had the opportunity to do a bit of coaching for my husband's performance of the Brahms Requiem. It's a piece I've sung many times before, both as soloist and (in my youth) as a chorister. But this was my first chance to really coach the soloists for a performance of it.
Read MoreIn a review of La Traviata at the Maltz, Daniel Hathaway with ClevelandClassical.com described Grant’s performance:
…Speaking of introductions and first impressions, when we first met the outstanding baritone Grant Youngblood, it was clear that Alfredo’s father was going to figure as a real, flesh-and-blood element in the plot rather than the usual cardboard character. Youngblood’s voice was as alluring as his stage presence.
Read the whole thing.
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