In a commentary for Chorus America’s online feature Noteworthy, Donald Nally commends James MacMillan’s St. John Passion to choral music colleagues—despite its considerable challenges. Not only is its scale monumental, the oratorio may invite controversy.
How to navigate the process of finding, hiring, and working with soloists.
While pursuing one of his favorite pastimes, conductor Mark Shapiro happened upon a groundbreaking piece from the Romantic era.
Kathleen Fargnoli didn't anticipate that her love for singing would lead her to putting together a board or applying for 501(c)(3) status. But that's exactly what happened when she ended up as the volunteer executive director of the Palisades Community Chorus in Bucks County, Pennsylvania.
More past Fellows speak about the impact of their Masterclass experience.
Over the years, many talented conductors have participated in Chorus America’s Masterclasses. The Voice asked past Fellows to share where they are now, and how their Masterclass experience has shaped their different professional paths.
As the world celebrates the centenary of this central figure of 20th century classical music, noted scholar John Evans illuminates the power and impact of his great choral-orchestral work.
Early- and mid-career learning for choral conductors is hard to find and requires a public process that demands courage and stamina.
Composers don't exist in a vacuum; they are continually influenced by their predecessors and peers, their culture and society. Here, we look at some of the influences (and influencers) reflected in Verdi's Requiem.
What is our responsibility as singers and as choruses when historic choral works are offensive, even hostile, to a whole group of people? Tom Hall, music director of the Baltimore Choral Arts Society, discusses Bach's St. Matthew Passion and St. John Passion.