I am not the composer of A Chorus Line.
Sorry,
Stephen Sondheim
Coach and accompanist Allen Perriello, a first-year Adler fellow, is an alumnus of the 2008 Merola Opera Program. Professional engagements include Opera Cleveland, Rising Star Opera Theater, and Ash Lawn Opera. His other coaching credits include Hänsel und Gretel, Albert Herring, La Bohème, Dido and Aeneas, Miss Lonelyhearts, Amahl and the Night Visitors, Il Barbiere di Siviglia, Werther, L'enfant et les Sortileges, L'Elisir d'Amore, The Merry Widow, West Side Story, and The Consul. Perriello served as chorus master for Cincinnati Conservatory of Music's productions of La Bohème and L'Elisir d'Amore. The Gibsonia, PA native holds a master's degree in collaborative piano from the University of Cincinnati College-Conservatory of Music and a bachelor's degree in piano performance and music education from Ithaca College.
“Listening to finer music and attending concerts on a consistent basis makes your real age about four years younger,” Dr. Michael F. Roizen — the chief wellness officer of the Wellness Institute at the Cleveland Clinic, said recently. “Whether that’s due to stress relief or other properties, we see decreases in all-cause mortality, reflecting slower aging of arteries as well as cancer-related and environmental factors. Attending sports events like soccer or football offers none of these benefits.”
After two weeks of workshops in January, three and a half weeks of rehearsal, and four shows, the 2009 running of Tapestry New Opera Works' Opera To Go is now finished after a successful run and some good reviews. 
I'm curious what to pay an accompanist for a classical voice recital I'm doing in another city. We did a concert together already and this upcoming program would be almost completely if not completely the same repertoire. We will probably have two rehearsals. The concert is a few hours drive from where we live which would involve spending the night out of town. I will also probably give a vocal master class and would like to pay the same accompanist to accompany that. Many thanks for any advice!
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Whether you're a long-time reader or a first-time visitor to the site, welcome! The Collaborative Piano Blog is a site that looks at the art of the piano in ensemble, various piano-related resources and events, the world of classical music, music education, and how to put it all together through technology. As this blog has matured, many readers have requested a way to navigate through all the articles (now well over 1200) in order to get to what they need. This guide will be an ongoing attempt to create as many pathways as possible through the enormity of content on the Collaborative Piano Blog. Recitative can hold some terrors for the young (and even the experienced) singer, as its rhythmic and melodic structures often differ from the surrounding music. Singers are musicians at heart, and the temptation is to start with the melody and throw the words in somehow. But in reality, this takes longer to do, and you are more likely to make mistakes that are difficult to undo.
I once turned for Julius Drake, who was performing with baritone Gerald Finley. Julius was flipping back and forth between books, and not stacking “done” music on a pile on the left stand (something my brother Jamie always does); so I wasn’t sure when the concert was actually done. I forgot to check what the last song was. Since we agreed for me to stay out in between numbers, I panicked: when was the concert done? Do I go off? Do I stay out??? I couldn’t tell by the applause, either. Feeling a bit panicky, I gambled and stayed out. I felt awfully small and alone on the stage of Roy Thomson Hall, the whole world watching. Thankfully, they came back out, and Gerald introduced the encore. I exhaled. And the applause was enthusiastic enough that the encore was definitely warranted - it’s not like my presence forced it. But still!! So don’t make that mistake.
My colleague Tom Diamond, director of the soon-to-open Opera To Go at Tapestry New Opera Works, just spent several weeks at Indiana University directing their production of Handel's Giulio Cesare earlier this year. Tom alerted me to the fact that the School of Music at IU streams a large number of their concerts and productions in high-definition video. A quick check shows that recent full-length productions of Giulio Cesare, Cendrillon, The Nutcracker, Love for Three Oranges, Merry Wives of Windsor, and La Boheme are currently online, as well as a recent performance of the IU Philarmonic with Leonard Slatkin conducting. The productions are filmed with several camera units, are edited quite well (with surtitles in the operas too!), feature an extremely crisp picture, and are available without charge or signup. What a great way to spend your evenings...No matter if you're an artist, a desk jockey, or anything in between - give yourself permission to include regular (dare I say daily?) reinvigoration in your work ethic. Silence. Slowness. Clarity. The machine doesn't work so well without them.
I've previously looked at ways that collaborative pianists have organized themselves regionally, including the Accompanists' Guild of South Australia and the Accompanists' Guild of New South Wales. Therefore, it was a very pleasant surprise indeed to learn of the Association National des metiers de l'Accompagnement Musicale, a French organization which translates literally as the "National Association of the Trade of Musical Accompaniment". 
This useful method of both learning and coaching recitative was written by New York-based vocal coach and conductor Jennifer Peterson., who previously wrote an article here on 9 Categories of Excuses for Missed Rehearsals and Coachings. You also can also connect with Jennifer on Twitter.You’re not here to become an entertainer, and you don’t have to sell yourself. The truth is you don’t have anything to sell; being a musician isn’t about dispensing a product, like selling used Chevies. I’m not an entertainer; I’m a lot closer to a paramedic, a firefighter, a rescue worker. You’re here to become a sort of therapist for the human soul, a spiritual version of a chiropractor, physical therapist, someone who works with our insides to see if they get things to line up, to see if we can come into harmony with ourselves and be healthy and happy and well.
Frankly, ladies and gentlemen, I expect you not only to master music; I expect you to save the planet. If there is a future wave of wellness on this planet, of harmony, of peace, of an end to war, of mutual understanding, of equality, of fairness, I don’t expect it will come from a government, a military force or a corporation. I no longer even expect it to come from the religions of the world, which together seem to have brought us as much war as they have peace. If there is a future of peace for humankind, if there is to be an understanding of how these invisible, internal things should fit together, I expect it will come from the artists, because that’s what we do. As in the concentration camp and the evening of 9/11, the artists are the ones who might be able to help us with our internal, invisible lives.
If you're in New York City next weekend, a concert to definitely check out is the March 14 Distinguished Concert Artists recital in Carnegie Hall's Weill Recital Hall featuring tenor Todd Randall Miller, soprano Marion Russell Dickson, and pianists Jay Whatley and Shannon Hesse.This post on the complexities of lesson, rehearsal, and coaching cancellation situations was written by New York-based vocal coach and conductor Jennifer Peterson. You also can also connect with Jennifer on Twitter.