
When Melinda Pollack-Harris was diagnosed with breast cancer in 2004, she needed music to face the challenge. That was the inspiration for Sing to Live Community Chorus for women, loved ones, and friends touched by cancer.
Refers to articles that deal with working with volunteers in a management capacity or with issues specific to volunteer singers
When Melinda Pollack-Harris was diagnosed with breast cancer in 2004, she needed music to face the challenge. That was the inspiration for Sing to Live Community Chorus for women, loved ones, and friends touched by cancer.
After 23 years of many roles with the Dale Warland Singers, including associate conductor, Jerry Rubino is leading a new "artistically ambitious" choir of seniors called Voices of Experience. Chorus America talked to Rubino about what he calls his "ministry" of music—how he encourages singers to bring their full, expressive selves to singing.
It's really the staff's job to position the board to do their best work―and most of that boils down to excellent communication and clarity of expectations.
Strategies for reaching out to prospective singers
The experience of several professional core choruses demonstrates there are ways to gracefully handle the inherent tension that arises when paid singers are brought on board in a mostly volunteer ensemble. Here are eight tips from managers, conductors, and volunteer singers who have been through this process.
Adding paid professional singers to a volunteer chorus raises issues of fairness, finances, artistic prowess, and culture. We offer advice for managing the process from those who've been through it.
Musical excellence attracts and retains excellent singers. If the choir never gets better, the best ones will find someplace else to sing. Here are seven strategies for maintaining and enhancing the quality of your chorus.
Some words to the wise for those who are new to a chorus board of directors.
Growing challenges in recruiting singers has led to creative tactics and new successes
What do choral singers wish their chorus managers and music directors knew about them? What would make singers' experience in the chorus more enjoyable, more meaningful, more fun?