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An interview with mezzo-soprano Marianne Cornetti is presented. When asked about her "Trovatore" theatrical performance in Atlanta, Georgia in 1996, Cornetti states how she was thrown on stage as part of her performance of the play and she mentions the need to play the character's feelings effectively. She denotes her good working relationship with Tito Capobianco. She also cites the assistance rendered to her by her voice teacher Dodi Protero.

The article deals with tenor Roberto Alagna's take on Don José, why he does not usually offer advice to young singers and what advice he would give if pressed. It states that the incorporation of opera into film and television was helpful in educating Alagna. According to Alagna, the most significant thing is to please people and that the mission of an artist is to reach the heart of the others, to give emotions. Crowd-pleasing roles like Romeo, Don José, Canio and Rodolfo reportedly gave Alagna the chance to connect with audiences.

An interview with opera singer Natalie Dessay is presented. When asked about her assessment on "La traviata," she says that it is more about the beauty of the music and the characters. Dessay adds that she finds it difficult to start a spectacular vocal rendition due to her age. She stresses that her voice changes for her when she starts singing lower repertoire.

The article offers information on opera singer Patricia Racette. It states that she is engaged to sing all three roles at the Metropolitan Opera, wherein she has enjoyed several achievements since making her debut as Musetta on March 4, 1995. Furthermore, she will become the first soprano in the history of San Francisco Opera.

The article features soprano Jennifer Forni, as she shares her experience of working with Santa Fe Opera. It states that she has been chosen to play Nannetta, which she considers as special role since she enjoys portraying what she describes as sweet character. Furthermore, she has received the Santa Fe Opera Apprentice Awards and the Judith Raskin Memorial Award for Singers.

The article presents different views on how singers should perform during an audition presentation. It mentions that singers receive several advices, particularly acting that cause confusion. According to Classic Singer's 2008 stage director of the Year James Marvel, singers should always demonstrate acting in their audition. It means being committed to fantastic story telling. INSET: Getting Specific.

The author offers tips that will help classical singers pass opera auditions. She presents three problems that may occur in an audition, including failure to express the character dramatically because of concerns about the opinion of others. She discusses two analogies that will help singers succeed in auditions. She also advises singers to turn their audition into a performance.

The article offers information about Amato Opera, who offers young singers a venue to audition for new roles in staged performance.