I noticed a support in the chest that seemed to form a triangle through the throat (keeping it open) and made these notes easy. Working on removing excess weight from the sound.

It's a small sound inside. Far from finished, but the G felt pretty good.

I see people in theater always going to mock auditions, dance classes, movement classes, etc. as a singer who takes weekly lessons and coaches a few times a month for now, are there other courses/classes that would be beneficial for singers trying to make a career out of opera? I guess language courses fit in there. Any other ideas. It’s hard to feel like you are not doing enough while trying to build your technique.

Does*

I realize I’ve been pressing a lot and chasing a sensation. I realized I can hit certain notes without much pushing at all and feels so light kinda of like talking where there is no real sensation to it.

Any ideas as a fairly recent post grad. Would you recommend doing a masters, a Fulbright, something to get into the German audition system? Or finding a specific teacher and working privately?

been fighting with tight brightness on my top Fs for six months and sounding like a tin whistle. my coach handed me an empty cardboard roll from the studio kitchen yesterday and told me to sing through it like a megaphone. instantly felt space in the pharynx i could not access on command for months. vocal pedagogy is hilarious sometimes.

The following text is strictly my personal perspective, shaped by a defining artistic experience: witnessing the young Gino Quilico as Don Giovanni in Canada back in 1988. Having compared his performance with dozens of other interpretations over the decades, I felt compelled to capture what made his approach so uniquely transcendent. I warmly invite you to share your own thoughts, memories, and insights in the comments below—how do you perceive the depth of Giovanni, and who, in your eyes, held the true key to this character?

Most modern operatic productions suffer from a severe crisis of imagination, substituting psychological depth with cheap, explicit vulgarity. Directors and singers routinely strip characters like Don Giovanni of their dignity, turning them into twitching, hyper-sexualized caricatures. They believe they are modernizing the work, but in reality, they are destroying the myth. As Mozart himself understood, perfection requires no adjustments; any attempt to make the subtext literal only shatters the illusion.

The ultimate embodiment of this artistic truth can be found in the performance of Gino Quilico. So young at that time, where most singers are still searching for technical stability, Quilico possessed an astonishing mental fortitude, supreme physical control, and a stage presence so massive that he could carry the weight of Giovanni’s enormous persona without ever resorting to melodramatic tricks. He fully understood the dark, complex depth of the character, yet he chose to portray it as an indicator—a radical challenge to the individual moral compass of every single viewer in the auditorium.

Nowhere is this more evident than in the legendary duet 'Là ci darem la mano'. Where many modern singers fail by filling the stage with explicit touching and desperate grimaces, Quilico achieved a theatrical miracle through absolute minimalism. Every slight movement of his fingers, every steady gaze was deliberate. He understood that here, Giovanni does not seduce through physical force—though he never hesitates to use it when he deems it appropriate—but through his immense vocal aura, his status, his physical refinement, and an overwhelming, momentary sincerity. When Giovanni lies, he is completely honest in the way he speaks—he falls in love with the beauty of his own lie, and that grounded confidence is what paralyzes the victim.

Mozart was a dramatist of pure sound, and in this duet, he created a weapon of mass seduction. The music is transparent, almost innocent, yet dangerously urgent. The eroticism is not on display; it is woven directly into the musical phrasing. Mozart created a boundary chasm so deep that he likely did not even fully grasp the terrifying depth of the chasm he opened, leaving it as an invitation for future singers to explore.

While most baritones merely splash on the surface of a safe, superficial sea, Gino Quilico dove straight down, headfirst, into the deepest part of Mozart’s abyss. He became a chameleon, a tornado of pure energy, he turned Giovanni into a flawless psychological mirror - a blank canvas, reflecting the hidden desires and fears of each individual viewer. He understood the unique, power of Don Giovanni and used it precisely where it belonged: to connect directly with the audience.

Quilico did not put on a cheap show; he offered a mutual, deeply spiritual and aesthetic consummation between the stage and the auditorium. He invited the viewers into the depths with him, yet he never let them drown. He tore through the viewers´ lives like a force of nature, gave them a taste of absolute freedom, and then vanished into the dark, leaving the spectators not exhausted or disgusted, but with an overwhelming sense of life in their souls.

It is a masterclass in the true essence of theatre: the understanding that the highest form of excitement comes from what remains unfulfilled, unspoken, and hidden between the lines. By trusting the music, Gino Quilico allowed Mozart's genius to breathe, thereby bridging the earthly with the divine.

#ginoquilico

With my season pretty much done and dusted for this year now (barring a couple of auditions) I thought I’d share another recent practice clip. Trovatore is one of those “Golden Calf” operas where every singer who attempts to sing from it is judged to the high heavens, and you inevitably open yourself up to the critiques - both informed, and wildly un. It also just so happens to be one of my favourites, with some of Verdi’s most stunning writing for Soprano, Mezzo, Tenor and Baritone. If I’ve learned anything this season, it’s been to find the joy in the process, and the beauty in the imperfect - and so it’s in that spirit that I share a clip of myself. A nearly 28 year old tenor, still falling in love with discovering his craft every single day, and constantly straddling the line of courage and stupidity 💕🔥 Find your comfort zone and explore the limits, build on the skills you find difficult, and what’s more important - just have a blast, even if you fall over or crack or figure out a role or aria isn’t for you yet. It’s in the imperfections that we can forge the truly exciting things for ourselves ✨

Hey guys, I’m auditioning for a Gilbert and Sullivan and they’re asking for a 2 minute cut of “english operetta”. I’m auditioning for Mabel since I’m a coloratura sop, but I’m struggling to think of what to use as an audition. I have been working “The Hours Creep on Apace” from Pinafore for a while, but I feel like it doesn’t show off enough coloratura (I could add some to the ending but I feel like it doesn’t call for it). My other idea is “Mein Herr Marquis” in english but man,,, the english is so bad in that aria I wish I could just do it in german haha. Everything else I have is Mozart or Handel which is too early to audition with imo. Just wondering what people think

Update: Thanks everyone for your suggestions!! I’m adding a lot of these to my “learn this!!” list. I ended up asking the MD what he would prefer to hear me sing since i’ve been working with him for about a year now and he said to do Mein Herr in english so I’ll do that haha

Hey, I'm f 22 mezzo and I usually try to practice 5-6 times a week on average for 1½ hours. But now I got sick and I don't feel like singing at all, is it better for my voice if I don't practice for like 5 days or should I at least try to do some warm up? I noticed that my voice resonates most, the day after my rest day so maybe it's not that bad when I don't sing for a few days until I get better? I have an audition in 3 weeks tho... I'm really developing my vibrato recently, what would you suggest?

Hello everyone, I am a soprano f21 who attends a small music school for my undergrad in vocal performance. I am in my senior year and starting my grad school applications. I have made a lot of progress with my voice and technique in the last year so I’m very excited about putting my pre-screening videos together. Oddly enough I’m more nervous about my transcript. For the most part I have A’s and B’s throughout my studies. The only C’s I have on my transcript are from general eds. Unfortunately, last semester I ran into health issues, family tension, mental health issues, and I totaled my car. With all of this stress I ended up failing a math class. I am very insecure about my transcript as a whole. I took honors courses in high school and had a 4.0! In college I got a late in life adhd diagnosis and I really felt the struggle of it. Is this something grad schools are heavily looking at when deciding who to accept?

I know there’s a lot of room for improvement and probably several things that I need to focus on, but I want to just take it one thing at a time and get a better hold of what I aspire to be: a singer who can perform classical works.

I’m posting here in hopes I can get feedback on one aspect of my performance that needs the most work. I appreciate you taking the time for this post.

Like for example ah I can get it on gahgahgah but if I just hold ahhh then it becomes quite breathy?

Hi everyone,
I am looking for the full video recording of Mozart's Don Giovanni performed at Teatro Colón in Buenos Aires back in 1993.
The cast includes Gino Quilico, María Bayo, Willard White
I found the professional TV finale on YouTube, so a full broadcast or house-cam recording definitely exists, but it doesn't seem to be on OperaPassion or commercial DVD. Does anyone here have the full video in their archive or know where I could find it?
Thank you so much for any help!

Hello, I've been asked to present a poem or monologue for an opera audition. Anyone have good ideas? I'm f, alto, 30s. About 1-2 mins long. I'm stumped!

Hello! I am a 23M grad student. I mainly sing opera or art song and I have an audition for the Air Force band coming up. They are asking for a contemporary contrasting piece in either country, rock, pop, or jazz and I don’t have much knowledge on any of those genres especially singing them. I haven’t decided my aria yet but I will choose a fast one in order to have a slower contrasting piece. Anyone have any advice or recs?

Hi all! I’m a 24F blossoming coloratura soprano and I’m wondering if anyone has any advice or suggestions for graduate schools? I’m currently looking into programs with soprano voice teachers who either have experience with coloraturas specifically or are deep into pedagogy, and the school must offer a competitive scholarship or some sort of TAship that will pay the tuition if not more of the living expenses. A program that also has some sort of musical theatre or an extended residency/1year program would be a plus!

Currently, I’m looking into programs in the US either in California, New York, or some blue-ish state (worried about my rights) I’m also interested in traveling abroad to Europe (would be a great excuse to leave the country haha!) although I’m finding that english art song or more Gilbert & Sullivan style english operetta is becoming part of my specialties so I’m thinking more England.

Let me know what programs/teachers I should look into :) Thanks guys!

What's most effective for you in terms of remembering teacher feedback and using it during practice?

I'm not used to making recordings during lessons but my most recent teacher said he was fine with it if it was helpful to me. I've started off by recording specific exercises for practice later, or if there's a particularly helpful piece of feedback I'll ask him for a moment to make a voice (or written) note to myself.

But it sometimes feels disruptive to get my phone out and fiddle with the recording app, and I feel it can break up the flow of the lesson or that it might be helpful to recall more of the larger discussions we have (rather than just specific pointers) or how I sounded on certain exercises so I can make adjustments. I could just record the entire thing, but that means sifting through a lot of audio later to find things to focus on (plus I worry about my phone storage...)

How do you go about it, and what's your advice for getting the most out of lessons generally for self-practice?

not to focus too much on the money, but lessons aren’t cheap and I want to get my money’s worth if I’m going to spend it. It’s not ideal to just skip a week right now. What do you do to get the most out of a lesson with minimal practice?

Hello everyone,

I’m a soprano living between Livorno and Pisa, and I’m looking for a singing teacher in the area who teaches the technique of the old Italian Romantic school.

The singers I love most and who inspire me are Claudia Muzio, Mafalda Favero and Enrico Caruso.

I’m especially looking for a teacher who builds the voice through vocalizzi.

If you know a teacher who works this way, or have studied with someone you’d recommend, I’d be very grateful for any suggestions!

Thank you!

Hello! I'm sorry for how long this is going to be.

I'm a 23 year old Baritone, and currently a second-year grad-student getting a Master of Music in Vocal Performance. I will graduate from my school in May 2026, and I'm kind of choice-paralysis'd right now. I am facing a lot of uncertainty and confusion as to what my next steps are in the world of music/my life. I've gone from Kindergarten to Grad School with no gap years, and I've been singing since I was 6. I am concerned about the logistics of being a traveling singer right out of grad school and wondering if I should take 6 months to a year off from music just to prepare myself mentally, emotionally, and most importantly - financially, to head into the world of music. I have a little bit of savings, but I feel that it's not enough to the point that I feel comfortable heading straight from school to traveling and singing.

I have been considering a few options/"plans" as to what my next year could look like and I was wondering if anyone has any input or advice?

Current tentative plans:

- Graduate and take 6 months to a year off from music while still doing voice lessons. Work a bit, save up and once I hit an amount saved I feel comfortable with, auditioning and trying to get in the performance world.

- If I am able to get a full-ride tuition coverage, I stay at my school and get a P.D. and work my butt off outside of school to make my savings. If I am unable to get the full-ride, I wouldn't get the P.D. as I am already 6 figures in student loan debt.

- Throw caution to the wind and start applying for whatever I can/whatever is left on YapTracker to try and line something up.

I feel unsure as to what the right move would be, and it's conflicting for me because everyone around me is applying and getting auditions, but I don't have the time/funds to travel for auditions due to needing to work to pay rent and bills and food and all that fun stuff. I know I'm 23 and "young" for the opera/performance world, so maybe it'd be smart to take a minute before heading into the performance scene?

Would love any input/advice from people who've done the path.

Thank you!

TLDR: Grad student looking for insight and advice whether or not to delay heading into performance world after graduation, or take 6 months to a year off to feel more financially comfortable & mentally/emotionally comfortable to start my career.