SALLY SOPRANO I Confidential Instructions for Lyric Operas Business Manager 1982
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Sally Soprano I was born in New York City in 1926. She was the youngest of three children, all the others died young of cancer. Her mother raised her alone until she was ten years old. From that time Sally was a student, in school for fifteen years, then she studied acting at New York University. Sally was an avid reader of books from an early age, she read all the classics and moderns she could get her hands on. At 17, she had an idea to write for the stage. She worked
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“Confidential Instructions for Lyric Operas Business Manager, 1982” Sally Soprano is the Chief Operating Officer and Managing Director of The House of Arts and Sciences (HOS), an innovative non-profit arts organization. HOS provides artistic and creative services for the most disadvantaged communities in the New York metropolitan area. Our mission is to make our community a brighter and more prosperous place. In the 1980s, New York City had one of the highest levels of un
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I worked as a lyric opera business manager in 1982. My job was to create an ensemble to produce the next opera. As a first-class lyric soprano, I knew that I was unique. However, this was not the case with the first performance of this opera. My first instinct was to cast a less experienced soprano. This woman, known only as ELEANOR, could sing beautifully. She had an exceptional technique but not much stage presence, and my colleagues had convinced me that this was a mistake. The only other soprano
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My title, Sally Soprano, is the founder and current manager of Sallys Productions. We specialize in the production and presentation of musicals, operas and other theatrical works. We’ve put on many memorable and critically acclaimed productions over the years, with a particular focus on the lyric and belted style. I’ve got a passion for creating original music and lyrics, as well as arranging and composing show tunes, and our performances often feature my original and well-crafted compositions.
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Sally Soprano I Confidential Instructions for Lyric Operas Business Manager 1982 — I have worked in many opera companies as well as in a few Broadway shows. This is what I found to be the most effective process for getting the best response from singers. This system should make the process both painless and effective. I believe in making a list of what needs to be done, rather than worrying about the end result. A little planning can go a long way. You might ask yourself: how will this help me achieve my goals?
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1) I have seen her in several high-quality productions, including CARMEN, ROMEO AND JULIET, PARSIFAL, CYGNET IN THE NIGHT, IOLANTA, I Vespri Siciliani, TURANDOT, THE MARS HALL, COSÌ FAN TUTTE, FIDELIA, DON PASQUALE, JEAN DE POULET, CATO, and CERSEL DA SARA. Her talent for dramatic acting
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She is one of the most renowned music critics of our times. Her books are her best work. In addition to her magisterial analysis of the newest and finest opera, she has written two volumes on the lyric drama. In the latter, she has described in her own words the techniques and motivations of the best lyricists. Her book “The Art of the Lyric Drama,” published by the American Institute of Musical Studies in the early 1980s, stands with the best scholarly studies in this field. In fact, few if any
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