Tuesday, May 12, 2009
I like to describe covering as hitting the target. The airflow coming from the lungs hits the roof of the mouth just so, that we get the use of all the cavities for resonance. Mixed voice is more of a pop term for integrating from one gear to the next. Tell me what you think.
Saturday, January 24, 2009
Keep in touch with your singers
Keep in touch with singers, send a computer generated Greeting Card. Visit www.marcdelivers.com and chopse from 18,000 tmeplates, write your card, put in name and address, it goes out via snail mail in 24 hours for $1.03. That includes postage. Very economical. Better than Hallmark. You also could develop a business.
Monday, December 01, 2008
Singers Fees
Some are able to get a grant or award designed for this
> juncture at a young singer's career when the choice between feeding the
> family and
> pursuing the career become serious issues. Sometimes important talent drops
> out at this point. The Richard Tucker Award and the Beverly Sills award come
> to mind as representatives of these kinds of awards to particularly promising
> young professionals.
Precisely. It always blows my mind when the naming of the Beverly Sills Award
recipient (which has been given 3 times so far, to Nathan Gunn, Joyce Di
Donato, and Matthew Polenzani) elicits an outcry here of "But they already have
it made! why can't it be given to a deserving beginner??" These are precisely
the people, those who have shown they can deliver on their promise, who are now
at a stage where a monetary award like this can go far to offset the debt
they've been building up for years, and actually allow them some time
relatively free of financial apprehension. Even those who "have it made" can be
living surprisingly close to the edge for a long time. All those "little"
expenses add up hugely.
And some of them aren't even so little. Imagine paying for a month's lodging in
NYC or London, if you're doing a run of an opera there and don't live in that
city. As John said, we're not talking 5-star hotels, but you can't really stay
at Motel 6 either. (And all the while, your expenses for your home-at-home
continue.)
Jon Alan Conrad
> juncture at a young singer's career when the choice between feeding the
> family and
> pursuing the career become serious issues. Sometimes important talent drops
> out at this point. The Richard Tucker Award and the Beverly Sills award come
> to mind as representatives of these kinds of awards to particularly promising
> young professionals.
Precisely. It always blows my mind when the naming of the Beverly Sills Award
recipient (which has been given 3 times so far, to Nathan Gunn, Joyce Di
Donato, and Matthew Polenzani) elicits an outcry here of "But they already have
it made! why can't it be given to a deserving beginner??" These are precisely
the people, those who have shown they can deliver on their promise, who are now
at a stage where a monetary award like this can go far to offset the debt
they've been building up for years, and actually allow them some time
relatively free of financial apprehension. Even those who "have it made" can be
living surprisingly close to the edge for a long time. All those "little"
expenses add up hugely.
And some of them aren't even so little. Imagine paying for a month's lodging in
NYC or London, if you're doing a run of an opera there and don't live in that
city. As John said, we're not talking 5-star hotels, but you can't really stay
at Motel 6 either. (And all the while, your expenses for your home-at-home
continue.)
Jon Alan Conrad
Singers Fees
Some facts in support of this. of the gross amount recieved,
1. Taxes 20 -50% depending on which country. Countries which tax the most
often have a per diem that partially defrays room and board.
2. Manager's fee, usually 10 %. A manager gets a fee for every contract the
singer has.
3. Agent's fee usually 10% . An agent gets a cut only for the contracts for
the countries he procures contracts for. Sometimes a deal is worked out
between the manager and the agent whereby the total owed is 15%. This is only
for
opera. Managers receive 20% for concerts.
4. Publicist $1500 to $3,000 per month
5. Tax accountant, sometimes for more than one country, $100 -$200 per
hour. Some International singers are required to pay taxes quarterly.
6..Entertainment attorney, $200 per hour average
7. Voice lessons and coachings $65 to $150 per hour
8. For women, a decent concert gown is at least $3,000 a pop. Tuxes for men
cost less, but a good one is not cheap
9. Accompanist fees vary, but a high end one may take up to 30% of a fee
10. Hotel residence or apartment fees average about $ 2-4,000 a month
depending how expensive the city is, and we are not talking five star hotels
which
cost considerably more.
11. Photo shoots. A high end one can cost thousands of dollars, especially
if stylists are involved. low end one can cost as little as $1500, but the
difference in quality often shows.
12, the purchase of a piano is necessary, and though it is usually a one
time buy, it has to be maintained. Pianos are expensive. The initial purchase
price costs thousands.
13. Scores and recordings, this is a minor expense, but most singers spend
$200 to $1,000 depending on their needs.
14. Specialized medical expenses: When a singer becomes ill, they have to
become very careful what they put in their bodies and who they see. Where a
normal person would merely see a family practitioner or ride out a cold, a
singer may need to see a laryngologist. A look at the vocal folds with video
laryngyscope can be $500 a pop.Where a normal person may simply need to use a
cane for a while, a singer may need to see an orthopedist that specializes in
sports and ballet injuries. These things cost more.
15. Educational expenses. Singers often need to continue language studies
either in intense short courses, correspondence courses, or private lessons.
This varies considerably in price and duration.
Now for a high powered super star with high visibility, the cost goes up
dramatically. Now we get into a personal assistant which often becomes
necessary,
Entertainment attorney fees rise considerably, publicity fees also
increase, as do the number of photo shoots, concert gowns etc Opera recordings
do
not make a profit, but they do provide extra publicity. Believe it or not, a
singer of this type takes home a lot less money than a house star who only
travels occasionally or one who has avoided the marketed career approach. Most
singers are struggling with mortgage payments like everyone else, provided
they have been lucky enough to buy a home or an apartment. Young singers
breaking onto the international circuit are lucky to break even. Most go into
debt
the first years. Some are able to get a grant or award designed for this
juncture at a young singer's career when the choice between feeding the family
and
pursuing the career become serious issues. Sometimes important talent drops
out at this point. The Richard Tucker Award and the Beverly Sills award come
to mind as representatives of these kinds of awards to particularly promising
young professionals
There are other extra necessary costs to international singers whether high
powered or not that are created by career demands. For example, sometimes
for family continuity, the singer may need to bring their family with them on
occasion. This costs money. Sometimes it becomes necessary to hire a traveling
nanny. Then there are international long distance calls back home, agents,
managers, publicists, fed x expenses etc. This can also be very expensive.
Then there is the shady side that some singers pay for such as claques,
anti claques, newpaper critic advantage, conductor advantage and various other
shady dealings. One singer related a woeful tale in Naples where so many of
these things were in effect, when her agent turned to her and said,
"But my dear, you are the one who is going home with your money."
There are also tales of unscrupulous agents charging a lot more under the
table.
On the issue of salaries being public domain, all non profit organizations
must maintain transparency to the public, the government and donors, though
most opera companies and singers would prefer that fees remain as discrete as
possible.
When a person makes a career choice that is in the public eye, that is a
price that is paid. As bad as it gets it isn't nearly as bad as it can get with
politicians and pop and film stars, where paparazzi lay in wait to catch
super stars without makeup to send to AOL and the National Enquirer, and
research every tiny peccadillo since the day they were born.
John Rahbeck
1. Taxes 20 -50% depending on which country. Countries which tax the most
often have a per diem that partially defrays room and board.
2. Manager's fee, usually 10 %. A manager gets a fee for every contract the
singer has.
3. Agent's fee usually 10% . An agent gets a cut only for the contracts for
the countries he procures contracts for. Sometimes a deal is worked out
between the manager and the agent whereby the total owed is 15%. This is only
for
opera. Managers receive 20% for concerts.
4. Publicist $1500 to $3,000 per month
5. Tax accountant, sometimes for more than one country, $100 -$200 per
hour. Some International singers are required to pay taxes quarterly.
6..Entertainment attorney, $200 per hour average
7. Voice lessons and coachings $65 to $150 per hour
8. For women, a decent concert gown is at least $3,000 a pop. Tuxes for men
cost less, but a good one is not cheap
9. Accompanist fees vary, but a high end one may take up to 30% of a fee
10. Hotel residence or apartment fees average about $ 2-4,000 a month
depending how expensive the city is, and we are not talking five star hotels
which
cost considerably more.
11. Photo shoots. A high end one can cost thousands of dollars, especially
if stylists are involved. low end one can cost as little as $1500, but the
difference in quality often shows.
12, the purchase of a piano is necessary, and though it is usually a one
time buy, it has to be maintained. Pianos are expensive. The initial purchase
price costs thousands.
13. Scores and recordings, this is a minor expense, but most singers spend
$200 to $1,000 depending on their needs.
14. Specialized medical expenses: When a singer becomes ill, they have to
become very careful what they put in their bodies and who they see. Where a
normal person would merely see a family practitioner or ride out a cold, a
singer may need to see a laryngologist. A look at the vocal folds with video
laryngyscope can be $500 a pop.Where a normal person may simply need to use a
cane for a while, a singer may need to see an orthopedist that specializes in
sports and ballet injuries. These things cost more.
15. Educational expenses. Singers often need to continue language studies
either in intense short courses, correspondence courses, or private lessons.
This varies considerably in price and duration.
Now for a high powered super star with high visibility, the cost goes up
dramatically. Now we get into a personal assistant which often becomes
necessary,
Entertainment attorney fees rise considerably, publicity fees also
increase, as do the number of photo shoots, concert gowns etc Opera recordings
do
not make a profit, but they do provide extra publicity. Believe it or not, a
singer of this type takes home a lot less money than a house star who only
travels occasionally or one who has avoided the marketed career approach. Most
singers are struggling with mortgage payments like everyone else, provided
they have been lucky enough to buy a home or an apartment. Young singers
breaking onto the international circuit are lucky to break even. Most go into
debt
the first years. Some are able to get a grant or award designed for this
juncture at a young singer's career when the choice between feeding the family
and
pursuing the career become serious issues. Sometimes important talent drops
out at this point. The Richard Tucker Award and the Beverly Sills award come
to mind as representatives of these kinds of awards to particularly promising
young professionals
There are other extra necessary costs to international singers whether high
powered or not that are created by career demands. For example, sometimes
for family continuity, the singer may need to bring their family with them on
occasion. This costs money. Sometimes it becomes necessary to hire a traveling
nanny. Then there are international long distance calls back home, agents,
managers, publicists, fed x expenses etc. This can also be very expensive.
Then there is the shady side that some singers pay for such as claques,
anti claques, newpaper critic advantage, conductor advantage and various other
shady dealings. One singer related a woeful tale in Naples where so many of
these things were in effect, when her agent turned to her and said,
"But my dear, you are the one who is going home with your money."
There are also tales of unscrupulous agents charging a lot more under the
table.
On the issue of salaries being public domain, all non profit organizations
must maintain transparency to the public, the government and donors, though
most opera companies and singers would prefer that fees remain as discrete as
possible.
When a person makes a career choice that is in the public eye, that is a
price that is paid. As bad as it gets it isn't nearly as bad as it can get with
politicians and pop and film stars, where paparazzi lay in wait to catch
super stars without makeup to send to AOL and the National Enquirer, and
research every tiny peccadillo since the day they were born.
John Rahbeck
Sunday, November 30, 2008
Artist Fees
it takes a lot of money to pay the rent while you hang around
waiting for any kind of work to come your way. Years can go by and do for
some.
American tenor Chris Merritt was Italy's highest paid Rossini tenor for a
while, after he asked 35,000 a performance for Guglielmo Tell at La Scala
Milan. As part of his group, his wife told me that he didn¹t really know
what fee to ask for, but threw out a figure and they accepted. Somehow the
Italian newspapers got a hold of the fact that he was being paid a lot of
money for his singing up and down Italy and became rather miffed. Now this
was in the mid-eighties. I do know singers suffer from a lot of politics
going on behind the walls of the opera houses, and fees are not paid always
in a straightforward way. Incredible as it may sound but true, a major
Italian opera house, I won¹t mention the name said they did not have the
money at the time to pay their singers!
Clarissa
waiting for any kind of work to come your way. Years can go by and do for
some.
American tenor Chris Merritt was Italy's highest paid Rossini tenor for a
while, after he asked 35,000 a performance for Guglielmo Tell at La Scala
Milan. As part of his group, his wife told me that he didn¹t really know
what fee to ask for, but threw out a figure and they accepted. Somehow the
Italian newspapers got a hold of the fact that he was being paid a lot of
money for his singing up and down Italy and became rather miffed. Now this
was in the mid-eighties. I do know singers suffer from a lot of politics
going on behind the walls of the opera houses, and fees are not paid always
in a straightforward way. Incredible as it may sound but true, a major
Italian opera house, I won¹t mention the name said they did not have the
money at the time to pay their singers!
Clarissa
Artist Fees
An artist still has to pay an agent, taxes and such on endorsements.
BTW, I'm reading where movie star XXX had to drop the selling price of mansion
$1 Million or athlete was fined $XXX,XXX for a transgression.
None of it amounts to what a musician earns, even the elite.? Relative to the
talent and hard work involved, let's not go there.
Let's not forget that Ms. Fleming goes on stage and is critiqued to the nth
degree by armchair impressario and she braves brickbats of dozens of naysayers
on each and every note she sings.
Best,
Terri
BTW, I'm reading where movie star XXX had to drop the selling price of mansion
$1 Million or athlete was fined $XXX,XXX for a transgression.
None of it amounts to what a musician earns, even the elite.? Relative to the
talent and hard work involved, let's not go there.
Let's not forget that Ms. Fleming goes on stage and is critiqued to the nth
degree by armchair impressario and she braves brickbats of dozens of naysayers
on each and every note she sings.
Best,
Terri
Artist Fees
My understanding is that most singers pay for their own accommodations and
transport. They pay for their coaches, voice lessons, management fees,
agents' fees and probably a lot of other "hidden" fees. My understanding is
that if they cancel a performance, they don't get paid. They also don't get
paid for rehearsals, if I am not mistaken. The big name stars can easily
afford to have personal assistants, secretaries. They can fly first class
and stay in 5 star hotels for a month at a time, during a typical run of
performances. But what about the middle level (for lack of a better term)
singer-One who is very good but is not very famous or hyped? They have many
of these same expenses-certainly hotels and flight expenses-and don't make
anywhere near the fees the handful of media stars earn. Those early years
of every singer's life are filled with uncertainty and huge expenses.
Lessons and coaching require large sums of money. They typically earn very
little for their small roles in major theatres or major roles in regional
theatres-with no guarantee of ever making these huge fees that we hear
about. I think they are entitled to a decent performance fee. I do wonder
if top administrators deserve million dollar salaries + perks.
Seth Welins
transport. They pay for their coaches, voice lessons, management fees,
agents' fees and probably a lot of other "hidden" fees. My understanding is
that if they cancel a performance, they don't get paid. They also don't get
paid for rehearsals, if I am not mistaken. The big name stars can easily
afford to have personal assistants, secretaries. They can fly first class
and stay in 5 star hotels for a month at a time, during a typical run of
performances. But what about the middle level (for lack of a better term)
singer-One who is very good but is not very famous or hyped? They have many
of these same expenses-certainly hotels and flight expenses-and don't make
anywhere near the fees the handful of media stars earn. Those early years
of every singer's life are filled with uncertainty and huge expenses.
Lessons and coaching require large sums of money. They typically earn very
little for their small roles in major theatres or major roles in regional
theatres-with no guarantee of ever making these huge fees that we hear
about. I think they are entitled to a decent performance fee. I do wonder
if top administrators deserve million dollar salaries + perks.
Seth Welins
Artist Fees
Beverly Sills said in an interview that 1968 was the first year she made a million dollars. I don't know how to relate that to today, but it seems that someone on the scale of Sills in 68 (the top) would make a few times that amount today, all things counted (opera fees, concerts, record sales, etc).mike h
Artist Fees
One could easily "net" around 40 percent or less of the contracted fee...so, Fleming's $575,000 could easily have been reduced to $230,000, which,given her considerable talent and even with the fees she gets for otherperformances at other houses, is not so incredible. Add in that there areyears of preparation with no guarantee and then no guarantee that thecareer will continue for any great leangth of time at those fees and whatshe gets doesn't sound so incredible. I wouldn't be surprised if even asuccessful opera singer, when the whole career is considered, doesn'tactually make all that much. They may be well-off and secure, but not rich.Are these valid assumptions, or am a wildly understating what these folksare able to pull in?John Wood
Artist Fees
I don't remember Miss Steber discussing fees. Somehow, I think she paid for Knoxville and the Alice Tully Recitals. Do you have any additional information?
Artist Fees
These fees that sound so large are generally "all-inclusive" which means the artist pays for their accompanist, airfare, and hotel on top of the percentage paid to their manager and costs for publicists and assistants (which some have, some do not.). Then, there are also taxes and Social Security...and self-paid insurance (things most of us have deducted). One could easily "net" around 40 percent or less of the contracted fee...$75,000 is the highest I've heard in the States quoted for a recital recently...anything higher, there would be just about no way to make the numbers work in a "standard" venue...with a generous individual sponsorship, a state arts council grant and a sold-out house at regular pricing (no gala tkts) in an 1100 seat venue, we made a whopping $275 on a $50,000 fee artist in 2003. Others - still big names mentioned/praised/pilloried regularly on this list - range from $10,000 (recital) - $25,000 (recital or orch) - $40,000 (with orch).It would not shock if some fees are now more negotiable than ever given the state of the economy and the classical music business. John
Fees for Singers
I, for one, do not complain about what opera singers make. It's a many arecalled, few are chosen profession. Attaining the level of skill needed toacquit oneself creditably on the opera stage costs lots of money and thesacrifice of a normal life. I don't think they make enough, especially those workingin the rank and file of singers in regional companies.We live in an age of celebrity that is disproportionate to merit. Witnessthe financial success of pop singers vs what they offer in musical merit(spend an hour or so watching MTV - it's about like having a root canal). Thisapplies as well to ersatz opera singers like Sarah Brightman and Andrea Bocelliwho have been pimped to a gullible public by Public Television. And considerIl Divo, a group peddled by the highly succesful promoter who is a judge on"American Idol" - I can't think of his name, but the upper part of hiswardrobe is limited to gym shirts...Simple Simon something.Paul RicchiBoston
Monday, July 21, 2008
Singer vs. Technique
I don't go to the opera for a voice lesson ( and I am a voice teacher). I go to have an experience. Sometimes a voice is so beautifully produced that the beauty is the experience. Other times it's the artistry that gives me thrills, and there are other times when a voice has such a unique sound that it produces yet another kind of thrill (that's always a "tasters choice issue"). Once in a great while a voice has two of the three above qualities................... well, when that happens it creates something that is so exciting it's difficult to even describe. I might also add that there have been a few singers who have given thrills AND a voice lesson (so great is their gift). In the studio all good teachers work to combine these qualities. You can't have a very long career without some kind of technique: Opera is too demanding to just "ride the train" and see what happens. I know that when I go to the opera or theater to see any singer (even my own students) what I want is to NOT have my "teacher's ears" take over. I want to have an honest experience. I know something's wrong when all I do is sit there and think, "why is she doing that?" or "if only she would just....." That is almost impossible with my own students because I know what we've been working on, etc. But I can say that I have seen quite a few less than perfect performances that were amazing. This is a difficult topic because it's also subjective. A good technique should allow a voice to sing beautifully. Callas could sing beautifully, but many would argue that her voice was in no way beautiful. I love the sound of her voice, but I also love the voices of Tebaldi, Price, Norman, Arroyo, Battle, Bonney, Fassbaender, Popp, Sass, vonStade, Crespin, Nilsson, TeKanawa, Sutherland, and Behrens. It's a very eclectic grouping of ladies and there are tons I have left off (including the tenors and baritones). From this mix you can find some that were technically excellent, some who were interesting artists, and others that were just plain unique (or had voices that had "glory spots"). One could talk about this forever.
Singer vs. Technique
I don't see how you can draw such a conclusion. I don't think he implied that. It's true that beautiful voices are fragile but that's not because they lack technique. There is a huge gap between someone who has a pleasant, beautiful tone and someone who maintains such beauty when singing difficult passages. Caballe for example admitted she had to work hard for her legendary pianissimo. Yet people take it for granted as if it was something she could do since she was five. Pavarotti worked for a long time on his passaggio to make it as even as possible, he perfected one of the most difficult things in singing, yet people often accuse him of just singing beautifully.Beautiful voices are fragile in my opinion because once heard, any blemish can spoil them. So the moment the singer ages, any change in tonal quality is noticeable and immediately compared to the younger voice. Personally I find that "unpleasant" voices have more technical problems and that is why they end up sounding "ugly". Because many singers who have the so called ugly voices, have on certain occasions sounded beautiful to me. But only when they are able to control their voices. The difference is, these singers don't care enough to reach their full potential vocally. So squally notes become their strong points and a few more go unnoticed because they don't walk on thin ice like beautiful voices.Takis
Friday, June 13, 2008
Recently abaout Eleanor Steber
Listening to the great great Eleanor Steber on Sirius as Rosalinda..Despite a hilarious (unintentional) final D natural in the Czardas...I remember standing on the line 1/23/54 for a Boris and we all JUMPED when she let out the geschrei..but meanwhile she was a fabulous lady....I wish I had heard her even more.....She gave 1000% always..and I bet NO ONE EVER could sing Fiordiligi like that...Better in the Mozart,Strauss, and other music rather than Puccini..but the lady was nso special....I am glad that we have Sirius to remind us of the greats....Speaking of the D natural..they gave her one Manon in 1954..and she took a D at the end of the Gambling Scene that was like NILSSON!!!!!!! R.I.P
Eleanor Steber, to me, was a trouper. She always seemed to hang in there even when things didn't go just right. She'd just "pick herself up, dust herself off and start all over again."I have a "Traviata" with her and di Stefano where they are singing the "Brindisi" together and at the end he goes completely off key but she kept on keepin' on.I recall someone sending me a concert someone persuaded her to do in a former NY steambath. How well she related to the guys there and sang her heart out.And wasn't it she who Corelli left abandoned while he exited the stage in a snit in the last act of "Tosca?"That lady had one helluva voice and guts to match it. Hers was not an easy life. She struggled with issues, not the least of them being Mr. Bing who "used" her at his will but never really appreciated her worth.She's in my top 5.
Eleanor Steber, to me, was a trouper. She always seemed to hang in there even when things didn't go just right. She'd just "pick herself up, dust herself off and start all over again."I have a "Traviata" with her and di Stefano where they are singing the "Brindisi" together and at the end he goes completely off key but she kept on keepin' on.I recall someone sending me a concert someone persuaded her to do in a former NY steambath. How well she related to the guys there and sang her heart out.And wasn't it she who Corelli left abandoned while he exited the stage in a snit in the last act of "Tosca?"That lady had one helluva voice and guts to match it. Hers was not an easy life. She struggled with issues, not the least of them being Mr. Bing who "used" her at his will but never really appreciated her worth.She's in my top 5.
Thursday, May 22, 2008
The Two David's
As long as the performance of popular music remainswedded to those lip-brushing microphones, I don'tsee how it can be taken seriously, especially by thosewho claim to be lovers of the art of singing. The issueis not the necessity of making small non-classical ornon- operatic voices heard without amplification. As Iunderstand it, all the necessary amplification can beprovided without visible mikes. It's been many yearssince we watched Judy Garland with that hand heldmonster trailing a long thick cable across the stage;very effective - for Judy - , but even then one had towonder if it wasn't just a prop. If shows on broadway canbe miked inconspicuously, [wether they shouldor not is another topic] why can't individuals like thecontestants on American Idol and other TV shows"let it all hang out" and allow us to see what they looklike while they sing. There is something so distinctlyerotic about the use of so phallic an object that I amalways surprised that the practice has become theconvention it has. And if it really isn't needed in atechnological way, I for one wish the mike would getlost.
