Expert: Sean Martinfield - 5/21/2011

Question
I just finished my freshman year of college, studying music performance and musical theater.  In the past year, I’ve played the roles of Horton on Seussical (for high school), Marius Pontmercy in Les Miserables (at a community theater), and Billy Bigelow in Carousel (at my college).  I am 19 years old, and haven’t really been assigned a voice part yet – I mostly sing high baritone/tenor roles, and tenor or tenor 2 in ensembles, but until recently I still had more of a baritone quality and didn’t have the upper extension to my range I expected a tenor would.  The roles and performances I did didn’t really go above the F#/G/G# range, and I didn’t feel comfortable going above that anyway.  My first semester I focused mostly on classical repertoire, and I was doing baritone songs and working on that part of my range.

In the second half of this semester, and in my summer break since then, I started noticing significant changes in my comfortable range and quality of my voice.  I hadn’t had any training or experience singing in a mix or head voice; in the past I’d mostly used an untrained belt/pop kind of sound to sing in my upper range, which I think was really limiting me.  Since I started working on my head voice technique, I’ve noticed that my upper range is much freer, more relaxed and reliable.  I think I’ve started to get more of a tenor sound in my voice, but I still don’t feel like I have the kind of range I would want to have as a tenor, and I’m not sure if I can expect to get there.  I’m very comfortable up to around a G or maybe A now – more so than I was before – in what I would consider my chest voice, even though it is lighter and I think less pushed than it was before.  When I’m warming up working on scales, as I’m working upwards in my range I often get to an F#/G before I even notice or feel that I’m singing that high.  If I use more of a head voice sound (which is mostly untrained as well – my voice teacher from college showed me some exercises to work on developing my head voice, but that was at the end of the semester so I’ve mostly been working on it on my own) I’m comfortable going significantly higher – to a high C and beyond.  This is with a lighter, headier sound, almost falsetto-like in quality, and I don’t feel at all ready to use it in a performance, but it’s definitely my modal voice.  At the bottom of my range, I can sometimes get as low as a G, but usually my lowest comfortable note is an A – however, when I’ve really warmed up my upper range/head voice, going below a B/Bflat can be tough.  After warming up like this, I really notice a difference in the quality of my voice – it’s much less like the classical baritone sound I was getting before, and to my ear sounds much more tenor-like – it’s lighter and slightly breathier, even in my middle and lower range.  It also seems to be a more relaxed, less focused sound.  What I’m wondering is if I can expect, with more training and work, to be able to get a fuller sound in my upper range so that I can confidently sing most tenor repertoire.  I feel like where I am right now in my technique, I have two separate voices that aren’t unified into one cohesive sound, and I'm still wavering a little between baritone and tenor.  

I’m a little concerned about this because I mostly seem to be asked to sing high, in ensembles and especially in musicals.  As I have a fairly youthful appearance, tenor roles are more suited to me anyway, as often baritones in musicals are older, but I’m worried my voice may not develop in such a way that I can play those roles.  I know I have time for my voice to develop, but how much can I expect my range to increase as I get older?  If I could perform a G#/A now, can I expect to gain a B flat/B/C on top of that in the next few years?  I’m working on developing proper technique in my upper range, but will I have to just wait for my voice to mature to be able to sing in that range?  When I was working on classical art songs/arias, I was doing baritone repertoire, but mostly in theatre I end up doing high baritone/tenor songs.  I’ve heard that operatic tenors often get put in musical theater baritone roles because of the sound they have, but it seems like the opposite is happening to me, and I’m not sure if it makes sense.

Apart from Les Mis and Carousel, I’ve recently performed I’ve Been (Next to Normal), Sun and Moon (Miss Saigon), Lily’s Eyes (Archibald’s part, The Secret Garden), Not While I’m Around (A half step lower than the original key, Sweeney Todd), and When the Sun Goes Down (In the Heights).

I’m sure you get plenty of people asking you for help in determining a voice part, and I understand it’s not something that’s best done over the internet, but do you think I can develop the range to perform tenor musical theater roles?  Or if I can develop the notes but still turn out to be a baritone, will I be unsuited to sing those roles because of the quality of my voice, or might it even be damaging to my voice long-term?

One more quick question – is it possible/advisable to try to develop a sound usable for a wide spectrum of musical theater?  My voice teacher has told me that it’s very difficult for one voice to effectively train for opera and musical theater at the same time, and that I’ll have to choose to work towards one or the other, but is it practical to train for modern and classic musicals at the same time?  I really like Jason Robert Brown, Pasek and Paul and other modern musical theater composers, but I’d like to have a solid foundation in “legit” classical theater, and maybe be able to do things like Gilbert and Sullivan operettas, etc.  Can one voice develop in a way that allows performing in such a wide spectrum, or will I have to specialize?

Thanks so much for your time and help – my questions got kind of lengthy, sorry for that!

Answer
Hello, Michael –

Thank you for contacting me. I appreciate the time you took to describe your situation. What you and I need is a session together. Your overall concerns, particularly those involving the true nature of your vocal category, require private consultation. I need to hear you to make such a strategic determination and to then provide you with workable solutions throughout your range. However, in the meantime, I can address those aspects that are about repertoire and career choice.

I don't know how many opportunities you have in the Virgin Islands to witness world class baritones or tenors in full-length operas or classical concerts. At some point, you must observe – in person – a whole lot of them perform in the environment for which they have been trained. Only then will you fully grasp the differences between the two voices and what it takes to execute the repertoire written for each. Such realizations cannot happen solely through listening to recordings or watching a video or broadcast. Keep in mind that opera singers are not miked and must be heard over a large orchestra. Next month I will be attending the four operas in Wagner's "Ring of the Niebelungen". A Wagnerian orchestra is larger than others in the standard repertoire. It follows then that the Wagnerian singer must possess vocal chops that are of likewise greater capacity. You have to be there to experience the differences.

Here in San Francisco, our opera house – the War Memorial – holds 3,376 patrons, 200 of which are in standing room. The Metropolitan Opera beats us out by almost 700 at a sold-out performance. By contrast, the Royal Opera at Covent Garden holds 2,267; La Scala, 2,015; and the Opéra Comique in Paris, 1,331. In other words, differences between 900 and 2,000 attendees. They suck-up a lot of sound. That translates into – not every singer has what it takes in order to be heard past Row M in New York or San Francisco.

The point is – whatever your vocal range or taste in music – how do you know you even have the physical capacity to realistically compete against an international roster of other highly trained Classical singers?

In the Broadway world, it's all about the microphone and Image. And you must be as excellent a dancer as you are a singer. Some auditions start with the Choreographer. If you can't get past that round, you will never sing a note. Nevertheless, you still have to compete against other experienced and motivated performers who know that legitimate tenors cannot sustain the same roles as bonafide baritones or basses.

There is much to be said about youthful enthusiasm versus the long-haul of being a working singer. Many young students with questions and problems such as yours find themselves cast in roles or placed in ensemble positions that allow them to adapt their vocal style and output for the situation at hand. For example, in school productions – lowering the key to accommodate the boyish "Tobias" in SWEENEY TODD, but having an okay High G for the beefier role of "Billy" in CAROUSEL. That can't and won't happen in the professional world.

I want you to listen to the recordings of one of my favorite and most versatile of Classical baritones, Thomas Hampson. Check out this recording:
The Very Best Of Thomas Hampson
http://www.amazon.com/Very-Best-Thomas-Hampson-Barrard/dp/B001IYOUNK/ref=sr_1_2_...

The song list includes an incredible array of material that exploits Mr. Hampson's vocal artistry, including some very tender songs by American composer Stephen Foster – "Jeanie with the Light Brown Hair" and "Beautiful Dreamer". In those two pieces you will hear him float into a lighter placement of his upper range as opposed to the climactic output of Verdi's DON CARLOS and the agility of Rossini's IL BARBIERE DE SIVIGLIA.

At 19 years old, you need to be more informed about the separate requirements of Popular music and Classical music. You cannot drift between the two disciplines, hoping that Chance will make the decision for you.

For me, the choice was easy. It was always about the repertoire.

If you have a sample of your work that I can listen to or watch on-line, I will be happy to offer you some feedback.

I am a vocal coach to working singers in the San Francisco Bay Area. I'm also the Editor and Publisher of SanFranciscoSentinel.com All my articles and interviews provide a link to my personal e-mail.

Below are links to my articles and youtubes on San Francisco's entertainment and cultural scene:

THIS GUN FOR HIRE, 1942 – Looking at "Now you see it, now you don't" sung by Veronica Lake
http://www.youtube.com/watch?v=VI26A6HdnWY

"My Silver Dollar Man" – from MARKED WOMAN (starring Bette Davis, 1937)
http://www.youtube.com/watch?v=uJMuY8aKFV8

"Would You Like A Souvenir?" – Sean Martinfield and Janet Roitz explore a song from Film Noir classic NORA PRENTISS (1947)
http://www.youtube.com/watch?v=yOiqTp0tjvg

SILENT FILM FESTIVAL – Opens July 14th with re-discovered film by John Ford
http://www.sanfranciscosentinel.com/?p=127988

“ASSASSINS” – Ray of Light Theatre presents Stephen Sondheim’s controversial musical, June 2–25
http://www.sanfranciscosentinel.com/?p=127713

ArtPadSF — Opens Today at the Phoenix Hotel
http://www.sanfranciscosentinel.com/?p=127393

WEEKEND AT THE RRAZZ ROOM — Anita Cocktail,  Poppy Champlin, Julie Goldman, and Fortune Feimster
http://www.sanfranciscosentinel.com/?p=127183

MISSA SOLEMNIS – Christine Brewer to appear with the SF Symphony, June 23–26
http://www.sanfranciscosentinel.com/?p=126924

VICE PALACE – All Singing! All Dancing! All Hedonism!!!
http://www.sanfranciscosentinel.com/?p=126590

SEEING GERTRUDE STEIN: FIVE STORIES
http://www.sanfranciscosentinel.com/?p=126116

SF GIRLS CHORUS — At the Conservatory of Music, June 9th and 11th
http://www.sanfranciscosentinel.com/?p=125872

THE SCOTTSBORO BOYS – Coming to A.C.T.
http://www.sanfranciscosentinel.com/?p=125577

ELIZABETH BISHOP – To sing “Fricka” in Wagner’s Ring
http://www.sanfranciscosentinel.com/?p=125552

BLUE MAN GROUP – Opens May 24th at the Golden Gate Theatre
http://www.sanfranciscosentinel.com/?p=125299

THE MAGNA CARTA — Now on view at the Legion of Honor
http://www.sanfranciscosentinel.com/?p=125076

SF SYMPHONY CHORUS – In Concert at Davies Hall, 5/22
http://www.sanfranciscosentinel.com/?p=124166

PICASSO: At the de Young Museum, Tickets on sale 5/11
http://www.sanfranciscosentinel.com/?p=123946

THESE AMAZING SHADOWS – Opens Friday at the Sundance Kabuki Theater
http://www.sanfranciscosentinel.com/?p=123766

THE LITTLE MERMAID – Fabulous Revival by SF Ballet, ends Sunday, 5/8
http://www.sanfranciscosentinel.com/?p=123601

SF DECORATOR SHOWCASE 2011 – 2950 Vallejo Street gets the make-over
http://www.sanfranciscosentinel.com/?p=123432

BETH WILMURT – A stunning “Alma” in The Eccentricities of a Nightingale, at the Aurora Theatre
http://www.sanfranciscosentinel.com/?p=123309

TENOR JAY HUNTER MORRIS – Replaces Ian Storey as “Siegfried” at SF Opera
http://www.sanfranciscosentinel.com/?p=122595

MIKE WARD – Benefit for ailing director at Most Holy Redeermer, 4/30
http://www.sanfranciscosentinel.com/?p=122568

THE PRINCESS OF MONTPENSIER – Les yawns, les sighs
http://www.sanfranciscosentinel.com/?p=122148

CD: ZUILL BAILEY, Cellist – Brahms Works for Cello and Piano
http://www.sanfranciscosentinel.com/?p=121932

NO EXIT: A Helluva Great Time at the American Conservatory Theatre
http://www.sanfranciscosentinel.com/?p=121768

THE FLOW SHOW 3 – Coming to Dance Mission Theater, 4/29—5/1
http://www.sanfranciscosentinel.com/?p=121686

THIS WEEKEND: New Conservatory Theatre Center presents – “Gender Mystic” and “The Busy World Is Hushed”
http://www.sanfranciscosentinel.com/?p=121527

THE WHIFFENPOOFS – Coming To The City, May 27th
http://www.sanfranciscosentinel.com/?p=121278

AUDITIONS: San Francisco Opera seeks physically fit male supernumeraries for Wagner’s Die Walküre and Götterdämmerung
http://www.sanfranciscosentinel.com/?p=121242

TIIT HELIMETS – An Interview with “Prince Edvard” of SF Ballet’s THE LITTLE MERMAID
http://www.sanfranciscosentinel.com/?p=120731

KIRK DOUGLAS – On stage at the Castro Theatre, July 24th
http://www.sanfranciscosentinel.com/?p=120434

54th SAN FRANCISCO INTERNATIONAL FILM FESTIVAL – Presents Midnight Award to Clifton Collins Jr.
http://www.sanfranciscosentinel.com/?p=120042

NO EXIT – U.S. Premiere at A.C.T. through May 1st
http://www.sanfranciscosentinel.com/?p=119807

WAGNER'S RING – Single tickets now on sale for SF Opera summer productions
http://www.sanfranciscosentinel.com/?p=119495

SF BALLET'S PROGRAM 7 – Petrouchka, Underskin, and Number Nine
http://www.sanfranciscosentinel.com/?p=119322

COMING TO SAN FRANCISCO  —  THE MAGNA CARTA
http://www.sanfranciscosentinel.com/?p=118962

LORENA FEIJÓO – SF Ballet Star To Appear on “Dancing with the Stars”, 4/12
http://www.sanfranciscosentinel.com/?p=118952

SF BALLET – Program 6, A Power-Packed Triple Feature
http://www.sanfranciscosentinel.com/?p=118865

CD: DAVID RUSSELL — Isaac Albéniz: Spanish Music on Guitar
http://www.sanfranciscosentinel.com/?p=118412

PROGRAM 6 at SF Ballet – Opens Tonight
http://www.sanfranciscosentinel.com/?p=118269

NEW CONSERVATORY THEATRE CENTER – Announces 2011-12 Pride Season
http://www.sanfranciscosentinel.com/?p=117780

NEW PUBLICATIONS: PUBLIC TRUST BETRAYED. An Interview with author and real estate appraiser, James E. Manning
http://www.sanfranciscosentinel.com/?p=117374

MARVELOUS MENAGERIE: A Roman Mosaic from Lod, Israel – At the Legion of Honor
http://www.sanfranciscosentinel.com/?p=116876

CHARLOTTE SALOMON: Life? or Theatre? – Opens today at the Contemporary Jewish Museum
http://www.sanfranciscosentinel.com/?p=116720

THE ECCENTRICITIES OF A NIGHTINGALE – At the Aurora Theatre, 4/1—5/8
http://www.sanfranciscosentinel.com/?p=116448

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE – Announces 2011-2012 Season
http://www.sanfranciscosentinel.com/?p=116217

VICE PALACE: The Last Cockettes Musical – Opens April 29th
http://www.sanfranciscosentinel.com/?p=115816

ARMISTEAD MAUPIN – At the Julia Morgan Theatre, Thursday, 4/14
http://www.sanfranciscosentinel.com/?p=115793

JOAN and SANFORD I. WEILL – Contribute $12 Million Dollars to Sonoma State University for Green Music Center
http://www.sanfranciscosentinel.com/?p=115431

HUGH JACKMAN – Exclusive Engagement at the Curran Theatre, May 3–15
http://www.sanfranciscosentinel.com/?p=115236

BALENCIAGA AND SPAIN – At the de Young, 3/26–7/4
http://www.sanfranciscosentinel.com/?p=114917

AUDITIONS – SF OPERA Needs In-Shape Men and 40 Kids For WAGNER’S RING
http://www.sanfranciscosentinel.com/?p=114691

COPPÉLIA – A Gorgeous New Production at San Francisco Ballet
http://www.sanfranciscosentinel.com/?p=114535

DIALOGUES OF THE CARMELITES – At Fort Mason, 3/31—4/3
http://www.sanfranciscosentinel.com/?p=114258

NEW ON CD – Icicle Creek Piano Trio: Haydn, Turina, Shostakovich
http://www.sanfranciscosentinel.com/?p=114131

NATALIE DESSAY – Is “Lucia di Lammermoor” in HD at Sundance Kabuki Cinema
http://www.sanfranciscosentinel.com/?p=114075

NEW CENTURY CHAMBER ORCHESTRA – Presents “Mastery of Schubert”, Featuring Soprano Melody Moore, 3/24–27
http://www.sanfranciscosentinel.com/?p=113791

SF CONCERT CHORALE – Presents Herbert Howells’ Requiem and Arthur Honegger’s King David
http://www.sanfranciscosentinel.com/?p=113695

“COPPÉLIA” – A SF Ballet Premiere, Cast Announced for Opening Night, 3/19
http://www.sanfranciscosentinel.com/?p=113530

"THE HOMECOMING" – A Home Run at A.C.T.
http://www.sanfranciscosentinel.com/?p=113481

BACH B-MINOR MASS – This week at San Francisco Symphony
http://www.sanfranciscosentinel.com/?p=113394

ARE WE THERE YET? — At the Contemporary Jewish Museum, March 31st – July 31st
http://www.sanfranciscosentinel.com/?p=113077

"PEARLS OVER SHANGHAI" – Final Performance, April 9th
http://www.sanfranciscosentinel.com/?p=112894

KILLER QUEEN – The Story of "Paco the Pink Pounder"
http://www.sanfranciscosentinel.com/?p=112730

“CALIENTE” – Opens Tonight, 3/10, at Teatro ZinZanni
http://www.sanfranciscosentinel.com/?p=112653

RAGAZZI BOYS CHORUS – Celebrates the Extended American Family, "Made In America"
http://www.sanfranciscosentinel.com/?p=112644

KURT MASUR – Conducts the SF Symphony in All–Mendelssohn Concert, 3/10–12
http://www.sanfranciscosentinel.com/?p=112263

FLORAL DESIGNER NATASHA LISITSA – Creating the Fantastical in the Wilsey Court for “Bouquets To Art 2011″
http://www.sanfranciscosentinel.com/?p=111892

EDITOR'S CHOICE — HÉLÈNE RENAUT, Vinyl Release Celebration at Cafe du Nord, 3/7
http://www.sanfranciscosentinel.com/?p=111697

ZHENG CAO – A Conversation with A Miracle Artist
http://www.sanfranciscosentinel.com/?p=111219

MELODY MOORE – Soprano shines in SF Ballet’s “Nanna’s Lied”
http://www.sanfranciscosentinel.com/?p=110816

MARNIE BRECKENRIDGE – An Interview with “La Princesse” of Philip Glass’ Orphée
http://www.sanfranciscosentinel.com/?p=109326

SF BALLET –Program 4, All Tchaikovsky
http://www.sanfranciscosentinel.com/?p=110251

ODC THEATER – Presents Sarah Michelson and Richard Maxwell's "Devotion"
http://www.sanfranciscosentinel.com/?p=109708

AVENUE Q – A Totally Fabulous Place To Be
http://www.sanfranciscosentinel.com/?p=108981

ZUBIN MEHTA & THE ISRAEL PHILHARMONIC – At Davies Symphony Hall
http://www.sanfranciscosentinel.com/?p=108853

ROTHKO CHAPEL and MOZART’S REQUIEM – SF Symphony and Chorus, 2/23—2/26
http://www.sanfranciscosentinel.com/?p=108820

ORPHÉE – Ensemble Parallèle Presents SF Premiere of Opera by Philip Glass
http://www.sanfranciscosentinel.com/?p=108569

SCHWABACHER DEBUT RECITALS – Begins February 20th at Temple Emanu-El
http://www.sanfranciscosentinel.com/?p=108484

CATS — Returns to San Francisco, May 5th – 15th
http://www.sanfranciscosentinel.com/?p=108256

CONSTANTINE MAROULIS – Comes to the Curran Theatre in “Rock of Ages”
http://www.sanfranciscosentinel.com/?p=108426

THE KIDS ARE ALL RIGHT – Best Picture Nominee Cast Donates To On-line Charity Auction
http://www.sanfranciscosentinel.com/?p=108226

DMITRI HVOROSTOVSKY – This Sunday at Davies Symphony Hall
http://www.sanfranciscosentinel.com/?p=108093

MARC HUESTIS PRESENTS – Lesley Ann Warren, Valentine's Day At The Castro Theatre
http://www.sanfranciscosentinel.com/?p=107913

EDITORIAL – A confession about ballerina Lorena Feijóo
http://www.sanfranciscosentinel.com/?p=107690

PULP FASHION: The Art of Isabelle de Borchgrave at the Legion of Honor
http://www.sanfranciscosentinel.com/?p=107453

YURI POSSOKHOV'S RAkU — Stunning World Premiere At San Francisco Ballet
http://www.sanfranciscosentinel.com/?p=107256

PROGRAM 2 – Opens Tonight At San Francisco Ballet
http://www.sanfranciscosentinel.com/?p=106942

CLYBOURNE PARK – A Bright Debut for Director Jonathan Moscone at A.C.T.
http://www.sanfranciscosentinel.com/?p=106753

THE RITE – Right into the trash
http://www.sanfranciscosentinel.com/?p=106465

NOIR CITY 9 — Festival closes today at the Castro Theatre
http://www.sanfranciscosentinel.com/?p=106265

GISELLE – And the Legend of the Wilis
http://www.sanfranciscosentinel.com/?p=105461

COMPANY C CONTEMPORARY BALLET – Opens 9th Season
http://www.sanfranciscosentinel.com/?p=104823

GISELLE – Opens SF Ballet's 78th Season, 1/29/11
http://www.sanfranciscosentinel.com/?p=99745

“NUREMBURG: It’s Lesson For Today” – Rare Documentary Restored
http://www.sanfranciscosentinel.com/?p=104677

SAN FRANCISCO OPERA – Opens September 9th with with Iréne Theorin as “Turandot”
http://www.sanfranciscosentinel.com/?p=104443

PEARLS OVER SHANGHAI – Thrillpeddlers Extends Hit Show Through April 9th
http://www.sanfranciscosentinel.com/?p=104310

BUDRUS – A Documentary on uniting Palestinians and Israelis
http://www.sanfranciscosentinel.com/?p=104134

NADJA SALERNO-SONNENBERG – and New Century Chamber Orchestra Announce February 2011 Tour
http://www.sanfranciscosentinel.com/?p=103892

LORRAINE HUNT LIEBERSON – Featured Artist On Philharmonia Baroque's New Recording Label
http://www.sanfranciscosentinel.com/?p=103202

CAMERON CARPENTER – Organist signs with CAMI Music and Konzertdirektion Schmid
http://www.sanfranciscosentinel.com/?p=102415

THE ELIXIR OF LOVE FOR FAMILIES (The Movie) – Free Screenings At The Herbst
http://www.sanfranciscosentinel.com/?p=103120

BEETHOVEN – A Two-Week Gig At San Francisco Symphony
http://www.sanfranciscosentinel.com/?p=102789

ASIAN ART MUSEUM – Proposed financial agreement provides long term stable financing
http://www.sanfranciscosentinel.com/?p=102738

2ND ANNUAL GERMAN GEMS – Comes to the Castro Theatre
http://www.sanfranciscosentinel.com/?p=102599

PIANIST HÉLÈNE GRIMAUD – This Week with the SF Symphony
http://www.sanfranciscosentinel.com/?p=102180

FILM NOIR FESTIVAL – At the Castro Theatre, 1/21–30
http://www.sanfranciscosentinel.com/?p=101857

THE PALACE OF FINE ARTS – Opening Celebration, January 14th
http://www.sanfranciscosentinel.com/?p=101597

A Conversation with Elza van den Heever
http://www.sanfranciscosentinel.com/?p=99268

HEART OF A SOLDIER – SF Opera Commissions New Work
http://www.sanfranciscosentinel.com/?p=98518

ARTHUR SZYK: Miniature Paintings and Modern Illuminations
http://www.sanfranciscosentinel.com/?p=97709

SF SYMPHONY – Announces 2011/12 Centennial Celebration
http://www.sanfranciscosentinel.com/?p=97495

I LOVE YOU PHILLIP MORRIS – What were they smoking?
http://www.sanfranciscosentinel.com/?p=97281

SHREK THE MUSICAL – Ogres and Freaks and Spells, “Oh, my!”
http://www.sanfranciscosentinel.com/?p=96975

THE BLACK SWAN – Don’t Save The Drippings
http://www.sanfranciscosentinel.com/?p=96580

CD: MAHLER’S “Songs With Orchestra” – SF Symphony Completes Mahler Recording Project
http://www.sanfranciscosentinel.com/?p=95840

YIGIT PURA – Local Pastry Chef Wins Bravo’s “Top Chef Just Desserts”
http://www.sanfranciscosentinel.com/?p=95774

GENIUS WITHIN: The Inner Life of Glenn Gould
http://www.sanfranciscosentinel.com/?p=95683

KARITA MATTILA – “Viva To The Diva!”
http://www.sanfranciscosentinel.com/?p=95163

CLUB FOOT ORCHESTRA – A Conversation with Richard Marriot
http://www.sanfranciscosentinel.com/?p=94863

ELZA VAN DEN HEEVER – Performs Strauss’ Four Last Songs with SF Symphony
http://www.sanfranciscosentinel.com/?p=94646

TIMOTHY SEELIG – Takes His Baton To SF Gay Men’s Chorus
http://www.sanfranciscosentinel.com/?p=94577

RECLAIMED: Paintings From The Collection of Jacques Goudstikker
http://www.sanfranciscosentinel.com/?p=94007

WEST SIDE STORY – Most of it, anyway
http://www.sanfranciscosentinel.com/?p=93786

PLÁCIDO DOMINGO – An Interview with the Tenor turned Baritone for “Cyrano”
http://www.sanfranciscosentinel.com/?p=93275

SCHEHERAZADE – A Spectacular Opening Night for Alonzo King Lines Ballet
http://www.sanfranciscosentinel.com/?p=92361

RUFUS WAINWRIGHT – World Premiere of Five Shakespeare Sonnets, November 11–13
http://www.sanfranciscosentinel.com/?p=91632

Dr. ELISA STEPHENS – My Visit with the President
http://www.sanfranciscosentinel.com/?p=90791

TENOR RAMÓN VARGAS – A Worthy “Werther” At San Francisco Opera
http://www.sanfranciscosentinel.com/?p=88856

AÏDA – Spectacular Opening Night At San Francisco Opera
http://www.sanfranciscosentinel.com/?p=88247

JERRY SPRINGER THE OPERA – Now At The Victoria Theatre
http://www.sanfranciscosentinel.com/?p=88014

DREAMGIRLS – High Gloss and Not Much Soul
http://www.sanfranciscosentinel.com/?p=86316

CUBAN BALLET – An Interview with Octavio Roca
http://www.sanfranciscosentinel.com/?p=86049

A Look At "Giselle" with Ballerina Lorena Feijóo
http://www.youtube.com/watch?v=33-a6Oa-0j4

DOLORA ZAJICK – Internationally Acclaimed Mezzo To Receive Merola Distinguished Alumni Award
http://www.sanfranciscosentinel.com/?p=85363

BACH & FRIENDS – West Coast Premiere At The Kabuki, 7/14
http://www.sanfranciscosentinel.com/?p=80577

FROM BEGINNING TO END – At the Castro Theatre, FRAMELINE34
http://www.sanfranciscosentinel.com/?p=78854

SABINA ALLEMANN – Former SF Ballet Ballerina Returns In A.C.T.'s "The Tosca Project"
http://www.sanfranciscosentinel.com/?p=76516

CD/DVD Release: CAMERON LIVE! – Organist Cameron Carpenter
http://www.sanfranciscosentinel.com/?p=76093

THE RUFFATTI ORGAN & CAMERON CARPENTER at DAVIES HALL
http://www.sanfranciscosentinel.com/?p=76169

JEANETTE MacDONALD – Hollywood Diva Remembered at the War Memorial Opera House
http://www.sanfranciscosentinel.com/?p=75637

AMANDA McBROOM – A rose for new CD, "CHANSON"
http://www.sanfranciscosentinel.com/?p=68879

CAMERON CARPENTER – Stellar Organist Returns to San Francisco
http://www.sanfranciscosentinel.com/?p=68311

HANDEL'S "ORLANDO" – An Interview with Conductor Nicholas McGagen
http://www.sanfranciscosentinel.com/?p=67774

CAMERON CARPENTER – At Davies Symphony Hall
http://www.sanfranciscosentinel.com/?p=64126

PEARLS OVER SHANGHAI – An Interview with Russell Blackwood
http://www.sanfranciscosentinel.com/?p=63625

PIANIST MISHA DICHTER – A Conversation
http://www.sanfranciscosentinel.com/?p=59695

ZUILL BAILEY – A Conversation
http://www.sanfranciscosentinel.com/?p=58241

DAVID PERRY – On the “Dos and Don’ts of Social Media”
http://www.sanfranciscosentinel.com/?p=56487

NATHAN GUNN – Sings Schubert's Die Schöne Müllerin
http://www.sanfranciscosentinel.com/?p=56056

CAMINOS FLAMENCOS – A Conversation with Yaelisa
http://www.sanfranciscosentinel.com/?p=51761

A CONVERSATION WITH LUCIE ARNAZ – This Week At The Rrazz Room
http://www.sanfranciscosentinel.com/?p=51605

JANE MONHEIT – This Sunday At The Empire Ballroom
http://www.sanfranciscosentinel.com/?p=48083

DIANE BAKER – Celebrating the 50th Anniversary of THE DIARY OF ANNE FRANK
http://www.sanfranciscosentinel.com/?p=32007

CAMERON CARPENTER – An Interview with Seán Martinfield
http://www.sanfranciscosentinel.com/?p=24462

AT LAST! – ANN HAMPTON CALLAWAY – An Interview with Seán Martinfield
http://www.sanfranciscosentinel.com/?p=27122

A Conversation with Ruben Martin Cintas, Principal Dancer with SF Ballet
http://www.sanfranciscosentinel.com/?p=22107

Best regards,
Seán Martinfield
SanFranciscoSentinel.com
http://www.sanfranciscosentinel.com/?cat=65