the larger. oh come on the ground is empowering women giving them the rule making them an agent of change for. the female peacemakers stores january 5th change of it. was over. $15000.00 people packed into berlin is about to be a. t.v. appearances that attract 1700000 viewers she draws some of the opera world's biggest audiences. the german tenor is one of the biggest names in opera today.

what does it take to become an opera star. only very few make the leap into the world's best stages. 90 percent of opera singers never manage to land a fixed contract at an opera house. the risk of burnout is acute as young as realized early on. 2 2 2 2 says if either party is in essence why am i saying many roles in the 1st 2 years but it almost cost me my mental health and by of course i was overstretched out of all. the pressures are considerable especially on young performers.

where 28 year old elsa devices has a promising career ahead of her. here at the zurich opera house the french danish soprano is performing her 1st title role model well. says kid there's a dress rehearsal today. her costar is one of the world's top 10 years piotr. the last thing chevy a degree in june must ney's opera 7 years ago at new york's metropolitan opera alongside on a new trip co. so this is why it's a gift to sing a longs n.p.r.

time at yates was in. jail. as a device which has been rehearsing for 6 long weeks as a special. this is it's been very exhausting. i'd say the rehearsals are the hardest part lindsay says he has her singing almost every day. dance for very demanding i think i hope the performances are easier because he's been my because right now i've almost run out of energy i've reached my limit test of it's. the premiere is in 2 days' time. housemate gregorian knows what it's like to reach her limit. i had from them so i mean when i went on stage i was totally not prepared i did i didn't

have any single idea how to pick. just the lithuanian singer finds time between looking after her children doctor visits and rehearsals to meet up with me in her hometown of vilnius. in 2006 she co-founded the private initiative the vilnius city opera. it doesn't have its own venue its productions are hosted by the city's congress hall. because of the nice sr there are no dressing rooms and the stars do their own makeup but the performances are top notch. the ville new city opera is fostering a new generation of talent. we want and we meet young people and i think in those 12 years we did kind of big revolution in this country really about the young people.

these days the ville new city opera attracts world class performers who also sing at the bolshoi in moscow and the met in new york. on the way home from a personal ozma gregorian tells me that she was almost destroyed by work i started with big roles i never saw any tiny roles or something and of course i heard of myself when i was 13 i was that already and i was always doing too much too big roles. the breakthrough she was hoping for never came. instead she started all over again and completely we learned her vocal technique she also learned to stop overtaxing her voice a mistake many opera singers make just as it's awfully nice to be told to just the

fact that it sometimes hurts is a painful realization because you're loved doing it you know swords your bank balance especially when you're young it does open and that's actually quite an important point if you're often forced to do certain things to survive financially you've also spoken. once they finish their studies which can take as long as 6 years an opera singer with a fixed contract in germany makes around 2000 euros a month before taxes a stage technician aren't more. or get a fassbender is an opera legend she's taught on the boards all over the world but these days she's mainly a director. she's currently staging on a shot 10 the woman without

a shadow by ricardo's toss cordell. i could never say no you're always afraid you'll drop off the map and never be asked again doc is now 80 this grown dom of german opera knows the industry inside and out. she's been a singer a teacher and a managing director. also whole you know even. when most of you want to truly and have it your role also as an actor. this is that's always been a priority of mine and you need charisma when you go on stage and everyone should look at you. that's what you must aim for. in 2 days' time the curtain will go up on the opera manon in zurich. they got such good. polish tenor piotr

a big he's getting ready to go on stage. so i think in october. 2 days the dress rehearsal a lot works well but there's also some room for improvement and a lot can still go wrong going to see machine. how well can he judges on performance this is the also. the schools are probably run by. one of the biggest problems for opera singers is that we never hear ourselves and if you minus i don't know how my voice actually sounds is

a big and that's why it's so important to have someone you really trust among the audience and such as your wife always see as if you can exist i know his voice very well and i met all his performances so good i listened to his voice and i take note of what his teacher said foster 41 percent how to find the optimal resonates in the sixty's and i hear if he's good to see. his wife gave up her own career as an opera singer to support his. she's undoubtedly one of the secrets of piotr his success. was. still just as it was the rehearsal is over tells the devices. i have been on stage for 4 hours. so this will be asleep this is most of us and it has to do

shelf the steps and i just have to dance at once again that was the 1st time i've sung the whole part from beginning to end. but as you can see i haven't lost my voice and that's the main thing. the end but i feel completely drained. being over the next 2 days i'll try not to talk too much i'll do some cooking some exercise i'll try to relax a bit go over my role and work on 3 or 4 parts that's it like. the spots as i desperately need a break good book. sales advice he has been a member of the berlin state opera's ensemble since 2017 when it reopened after years of refurbishment. she said. in the role of christian and what seems from good times fast 2 the production that kicked off the new season. 2 1

competitions are one way that singers can make a name for themselves as mick grigori and admits that she's never taken part in one in her life. i just could not do that because i always had this huge fear of stage and i was just so afraid and i couldn't even 20 percent of. years ago i really thought that i can come on stage because it was like it was so big and it's really physical it's not just of here you know you stop to feel your arms or you know your face is decking and of course you know it you know. disturbs your breathing and everything.

even now backstage in frankfurt she's palpably nervous. she's performing the title role in tchaikovsky's lyric one act opera elantra. i.

dared to look for general director of the frankfurt opera discovered her 5 years ago she. just never took it for the 1st time this year. i always love. it so. yeah look at me because you are very serious. it is so i wish you want to thank you very much thank you michel in the 1st scene yet she's always captivated me with not only her singing but also her simplicity in the 3 or in the way she can command attention by holding back and the song of most i'm quite at sea and i know maria callas from a similar english. but in the little footage that exists. what you see is a woman who singing commands attention because she has presence even when doing

very little. as in one comes out a nice. that it's just not something that arsenic picks up on. my wish more thing aside the sophistication and intelligence in key moments to do less rather than more on stage gets to feel. less is more. it's a phrase i hear often more making this film along with talk of pacing oneself and being in the moment. music director of the royal opera house in london and tony opera pano works with stars like young as kaufman and on

a truck oh i ask why so many opera singers end up ruining their voices. i know their face the doing of. those 01 of the biggest challenges for opera singers is knowing how to calibrate their intensity and emotion and also their volume. is get seen far too many singers are too loud. oh the atmospheric singing piano and creates a more interesting efforts harnessing and if i see that if you sing too loudly you're going to get tired. get schnell moved by in him a loud in the loud word most warriors who were restored as well why did no not running let me. quote her in her 1st was her car

was. throwing. the. ball. on the. to her. but these days an extraordinary voice will only get you so far. up or singers can't afford to ignore social media posting is now part of the job even the stars are doing it often sharing glimpses of their private lives. such as on a trip though here she's posted a rehearsal with maestro no one would even move it was a beautiful kid. one cool to keep going to. see. much opens it does in theme movie stars you can feel this is that's what i see some opera singers who are almost like movie stars by you and that's ok as the us

does most but their job demands a certain respect and concentration and consent at sea on that's the most important thing they made a comedian can't make a career get a bow and when you have to get up on stage and prove yourself a new every time seiden need a smile last month east is. think a month and this. the magic i feel that the job is losing some of its magic. because people can see that we're just normal and all this is so i see it in myself . as a tool when i go to the opera and there's a singer. i go straight to instagram or facebook to find out who they are or you tube is. owned. but i think you can lose yourself and social media meant kansas sworn in does

a medium. that you can end up thinking you're a good singer. just because you have 30000 followers 2. these days the industry is teeming with people who are talented singers but more importantly look good. now days you have to look like a model at least on your record covers sometimes when you see someone on stage you wonder how they managed to look the way they do on their record cover. and just say you can't blame the singers it's the fault of the people who know nothing about singing and base everything on looks. they only cast certain types was it how do you see. the i'm going to feel it's my i knows what she's talking about she sung in opera houses all over the world to get this right charles no no no it

wasn't enough food poisoning talking about this this guy. oh yes the rose to go to a certain types you have to be thin young you have to be affordable the situation is getting worse and worse emotionally much. come to. i hear my voice is getting deeper i never felt comfortable singing soprano they'd say to me anyone who says good morning the way you do can't be a soprano kind of had surprise. i. was from hospital child fassbender always said you're not really a soprano you don't enjoy your upper register and i would say yes i'm always glad

when i'm allowed to go deep enough to spot this one side that was a clue and now finally i found the fact that feels right to me. she isn't the only opera singer who spent years singing in the wrong. in germany in particular operatic training could be improved the country is home to one 3rd of the world's opera houses. but germany is failing to properly train young talent. the soloists performing in germany's many opera houses tend to come from the u.s. russia and increasingly also from south korea and china. here in tokyo in got fields maya is something of an exception. i salute the singers from overseas are much better than us so this is why is that for us monday to understand the training

up. there are 24 state conservatories in germany. but their graduates don't always amount to much. from sponsorship on the 20 young americans auditioned for me i could hire 19 of them and me and i but if i auditioned students in german conservatories before or 19 of them on employable. maybe one. flies died so obviously there's something wrong with our system was about us we could learn from those other systems that are doing something right flushed with mr my last option yes i always thought that germany's conservatories were world class but it seems that the standard of teaching lets students down. flush the nasty possible the best voice teachers on here or overseas because they were unhappy with the conditions here and didn't just keep i think there are very few teachers

actually experience at this stage 1st. spin and. they know this theory but they don't know the practice. a lot of rules in the house spin don't. even. belong to it since lloyd teachers are people who failed to make it in the music world using good frustrated singers who are no good. but who study technique of the 15 votes from that is a good song. to me it's a series of the opposite of this theme training is done by people who aren't passing on technique but rather their own complexes and problems i get a complex and probably met. moreover singers from russia the us china and south korea are more disciplined than their german colleagues that's the conclusion reached by a recent study commissioned by the bettles month foundation. but

regardless of where they come from all opera singers have to learn to resist the opera world's many temptations as well as agents promising big bucks. agents have always been dangerous complex because obviously they make their money from singers keep so there are more respectable agents who really help singers nurture their voices because they have a vested interest. but if a singer goes and ruins their voice never mind there's always another one waiting in the wings i'm pretty negative in this respect. but voice needs time to develop. a singer needs to learn their limitations as a device tells me these are the prerequisites of a lasting career. but some agents expect the impossible from singers the slight

feet of hidden by the edge of a desire. i will have lots of managers say look there are 365 days in the year let's do as much as possible this is. a good cup for the smug this is for me it's got to be stiff but at my age you tend to think come on. i can do it i'm young. and i can do everything. that the best so often but if that's what you're always thinking that's what you do. it's the way it is with soap it's the more you use it the less of it there is that's how it is if you don't give your voice a break it gets less and less and suddenly you've got nothing left to work with. cosmic gregorian also thought she could do everything when she was young but then she had a vocal crisis in her late twenty's she was faced with the choice of carrying on

knowing she was ruining her voice or starting all over again from scratch and learning a whole new technique. she opted to make a new start. then in 2016 she sang the role of tatyana and eugene at the coma in berlin. her potential was obvious but she was unable to demonstrate the full extent of her talent. this time. for election really hard for me because 1st of all i was pregnant my father was dying and he was next to me it was some of the woman special interview when i thought i could manage. she divided her time between rehearsals and the hospital her father himself a famous tenor eventually died but she had to keep going.

extreme than was before the performance after performance but in the performance and kind of i noticed me and then asked me for. in the summer of 21 team gregorian captivated the opera world with a stunning performance as a zalmay. her voice was powerful. mesmerizing. after her star turn at the prestigious sounds book festival she's now in demand all

over the world plus carla the met emma while opera house in london are all eager to engage her. first of all you must have it it can call the cards or whatever i mean but it's really just. you know we must to have this big big emotions always we can't share with with people and with the years you must learn how to control all those emotions without stopping them. but cosmic gregorian is hardly an overnight star. she has spent years owning her craft. and she takes nothing for granted. it's a bit of a plot to chance but i always say that if you do everything right at the start of your career and success will come to you as a young singer you don't always have to be striving for success but when you're young you have to learn not serenity as soon as i go up there of 9 kids are by i've

often turned down major opportunities. and when i felt that i'm not in a position to do something as well as i'd like to my home does this mean of all my not pushing good luck or. might mean that the wheel of your career turns slower. but that's good because you can use the time to build up your career step by step. because fundamentally time fishbein off both. opera is a tough business training as an opera singer and going on to earn a living as a performer takes not only talent but stamina to. for those who persevered it's a great privilege.

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this news life from the late thousands of australians escaped the wildfires sweeping the country by fleeing to beaches to war lives a lost soul source who struggled to keep the flames from hundreds of fires that also on the program. protesters in iraq attacked the u.s. embassy in baghdad chanting death to america i'm going to talk to u.s.s. strikes on that country. i'm going back to calls for germans to be courageous and confident it's been confronting the challenges of a new decade. you have addressed.