NYSTA News

Studio News / Organization News

Voice Instructor, Assistant Professor, August 2010. All voice types considered; bass, bass-baritone, or soprano preferred. Principal responsibility: teaching studio voice to vocal performance, music education, and musical theater majors. Other duties may include teaching voice-related courses (diction, opera scenes, etc.) as determined by the needs of the department.  The successful candidate will be a natural performer and have competent pedagogical skills in both classical and musical theatre styles. College teaching experience and demonstrable keyboard skills preferred.  Earned doctorate in hand or near completion required. Please send a cover letter, vita, a CD or DVD of performances and/or teaching demonstrations, unofficial transcripts, three current letters of reference, and a list of alternate references with contact information.

Patricia Dell is featured on a new Albany Records CD: Jack Beeson's one-act opera, Sorry, Wrong Number. Patricia had the pleasure of creating the role of Mrs. Stevenson with the Center for Contemporary Opera. She writes: "It was a very exciting time and I am thrilled that Mr. Beeson chose to use my live performance for this CD." Sorry, Wrong Number is available for purchase on the Albany Records website, Amazon.com, and other online sites.

Sally Morgan's Morganix Method (TM) goes to university! The University of Texas at Austin, that is. The lovely and brilliant Lyn Koenning (MTEA) is using the Morganix Method (TM) workbook and practice CD’s as a required text for her Singing for the Stage class. The Morganix Method (TM) workbook and training CD’s are a fully documented, well-organized, structured approach to learning how to "Sing Like You Speak: Simply and Naturally."

“What a refreshing concept, that the production of sound - singing and speaking - should be as natural and effortless as breathing. After studying with Sally Morgan, I have found the method that delivers the best results.” - Peter Bliss, songwriter/producer.

Please email Sally at info@vocalpowertools.com with any questions and/or comments about using the Morganix Method text for your Musical Theater course. Also, watch for Morganix Method (TM) teacher certification training coming soon! Stay tuned to http://www.vocalpowertools.com/ for the latest information.

Joan Melton’s announces her new book:
Singing in Musical Theatre: The Training of Singers and Actors
(Allworth 2007), features personal interviews with 16 major teachers of singing in the US, UK and Australia—including New York-based Jeannette LoVetri, Joan Lader, Mary Saunders-Barton, and Neil Semer.  This insider’s look into the unique demands of musical theatre performance establishes connecting links between voice training for the singer and drama school training for the actor.  From reviews: 

• “I love this book! It is an invaluable resource for every singer.” – Mara Davi, The Drowsy Chaperone, Broadway 2007 
• “A wonderful book that finally converges the body with singing and speaking!” – Robert Lewis, Academy of the Arts, University of Tasmania
• “Singing in Musical Theatre demystifies individual work that is generally unseen by the public or even by other singing teachers.” – Catherine Fitzmaurice, Founder of Fitzmaurice Voicework

Details: paperback, $19.95, 223 pages, available at leading bookstores and online at www.allworth.com, Barnes & Noble, and http://www.amazon.com/.

NEW Perk of Membership - NYSTA's Video Archive
Through our website (and new PDP Webinars) NYSTA is expanding its membership roster to include nationwide and even international members.  Our new “out-of-town” members have expressed with sorrow and regret that they could not attend our FREE membership events here in NYC. So, as a new perk of membership, NYSTA now maintains a Video Archive of membership events right on our website.

Any member in good standing can log in to the member’s only section of the site (with your username and password) and click on the “View Video Archives” link to see any event they may have missed, right from the comfort of your own computer.

Our current Video Archives are posted and can be viewed (and re-viewed) at any time 24/7.

• A Voice Science Masterclass with Brian Gill, DMA,
• The Contemporary Singer in the World of Recorded Music
• A Musical Theater Masterclass with Meg Bussert
• The David Adams Art Song Competition Winners Recital

We encourage you all to take a look. It’s the next best thing to being there! New events will be posted throughout the season, so check back often.

Brian Stokes Mitchell
"The Impossible Dream"

NYSTA's Season Opening Event, October 8, 2006
Brian Stokes Mitchell's Singing Lesson
Broadway's TONY award winning baritone spoke to membership and dissected one of his signature tunes, "The Impossible Dream." 

“It’s a song about climbing Mount Everest, not summiting Everest.” This realization guided Brian Stokes Mitchell’s reinterpretation of “The Impossible Dream” as he prepared to play Don Quixote in the 2002 revival of Man of La Mancha, Mitchell told attendees of a special Q&A sponsored by the New York Singing Teachers’ Association (NYSTA).

The teachers, students and singers who attended the event—which was open to the public and held Sunday evening at the West Bank Cafe’s Laurie Beechman Theater in Manhattan—were privileged to hear Mitchell speak candidly and personably about training and protecting your voice, working in the theater, and singing for stage, cabaret and CD. Mitchell spent about 40 minutes answering questions, the first three asked by the event’s host—and Mitchell’s close friend—David Sabella-Mills, who’s on the board of directors of NYSTA (and was the original Mary Sunshine in the Chicago revival).

After taking questions from the audience, Mitchell discussed how he went about making “The Impossible Dream” his own. In a highly animated 30-minute discussion akin to opening up his diary for the audience, Mitchell analyzed the words and melody, recounted his scrutiny of and experimentation with the song, and described his efforts to differentiate himself from Richard Kiley’s iconic performance. He even sang the song three different ways—“old style,” i.e., as Kiley sang it; the cheesy version that’s been proffered by lounge lizards the world over; and, finally and thrillingly, the way he had performed it (to Tony-nominated effect) on Broadway.

Kiley’s “classical” approach to the song entailed “long-line phrasing” that put the emphasis on the last word of each line (“dream,” “foe,” “sorrow,” e.g.), according to Mitchell. But he felt the emphasis belonged on the adjectives—“unbeatable,” “unbearable,” etc.—since the song is about trying to do the impossible. And that’s where the Mount Everest analogy came in. Mitchell recalls seeing an IMAX movie about Mount Everest and how the footage of climbers struggling to reach the summit struck him as a visual rendition of “The Impossible Dream.”

Because the song is so famous, Mitchell wanted to “give it my spin and take it someplace that people aren’t expecting.” So he added a key change toward the end and hit a high note on the last line: “…the unreachable star!” Man of La Mancha composer Mitch Leigh liked the key change but not the high note—because, Leigh told him, “the song is about trying to reach the unreachable star, and that note makes it sound like you’ve reached it.” Mitchell decided to sing it with the high note anyway, though once the show opened he realized he should have listened to Leigh since it put such a strain on his voice. So he stopped using the high note, although it’s on the cast recording.

Mitchell wanted to make one other change, to the lyric “To bear with unbearable sorrow.” He’d always thought “To bear the unbearable sorrow” made more sense and followed the word pattern in the other lines. When he asked Leigh why lyricist Joe Darion hadn’t written it with “the,” Leigh gave him “like a 10-minute answer,” so he decided it wasn’t worth fighting. “But still I think that ‘the’ would be a better word,” Mitchell confided to the NYSTA audience.

During the Q&A, Mitchell answered audience questions about his typical vocal warmup, using classical training when singing popular music and show tunes, and the infiltration of American Idol-style singing on Broadway. He told the NYSTA guests the three bits of advice he most wanted them to take away from the evening: Learn to listen to your heart. Follow it. And know thyself, meaning your strengths and weaknesses. The event concluded with a reception, during which Mitchell answered even more questions for about an hour.

Article reprinted from www.broadwayworld.com with permission from author/photographer Adrienne Onofri. For the complete article and photos please visit
http://www.broadwayworld.com/viewcolumn.cfm?colid=12761

NYSTA member Victoria Clark in
The Light in The Piazza

NYSTA CENTENNIAL CELEBRATION

APRIL 28, 2006
at the Kosziusko Foundation,
15 East 65 Street
Honoring
Aprile Millo
and Victoria Clark

One of the nation’s oldest teaching organizations, The New York Singing Teachers’ Association, Inc. (NYSTA) celebrated its 100th anniversary on April 28, 2006 at the Kosziusko Foundation, 15 East 65 Street in Manhattan, on Friday, April 28th from 6-10 pm.

This landmark occasion brought together notable industry professionals, aspiring artists, and lovers of the singing voice at a gala event where two great singers were honored: acclaimed operatic soprano Aprile Millo and Tony Award-winning Broadway star Victoria Clark.

The gala celebration also included a short concert of art songs performed by winners of the David Adams Song Competition, who were selected after competing in March.

International Opera Star Aprile Millo, hailed as the Metropolitan Opera’s leading Verdi soprano, appeared in Simon Boccanegra, Aida, Otello, Luisa Miller, Un Ballo in Maschera, Il Trovatore, Don Carlo, Ernani, the premiere of I Lombardi, as well as in Giordano's Andrea Chenier, Boito's Mefistofele and Puccini's Tosca and Turandot. Since 2002 she has won accolades for her performances with Eve Queler and The Opera Orchestra of New York at Carnegie Hall.

Broadway Star (and NYSTA member) Victoria Clark received this year’s Tony, Drama Desk, and Outer Critics Circle Awards for her luminous portrayal of Margaret Johnson in the critically acclaimed Craig Lucas-Adam Guettel musical The Light in the Piazza at Lincoln Center’s Vivian Beaumont Theater. Clark's Broadway debut was in 1985 in Sunday in the Park With George, and she has since delighted audiences and critics in such roles as Alice Beane in Titanic, Smitty in the 1995 revival of How to Succeed in Business Without Really Trying and in Jerry Zaks’ Tony Award-winning revival of Guys and Dolls.

Aprile Millo as Amelia in
Un Ballo in Maschera