Mirshak Artists Management

Are you looking for a way to advance your career in professional singing? Join us for over 30 hours of intense online instruction with world renowned experts including Grammy Award Winner George Shirley, Utah Professor of Voice Robert Breault, German Agent Therese Renick, University of Houston Professor of Voice Jones Timothy, broadjam owner Roy Elkins, Wellness Expert and Acting Coach Jane Ohmes Mirshak and singer agent Robert Mirshak For more Information and to sign up click here: https://www.mirshakartists.com/the-complete-singer-academy

Wisconsin Chamber Orchestra, broadjam Capital City Theatre and Mirshak Artists Management are proud to sponsor the first annual Wisconsin Singer of the Year Vocal Competition completely online. This competition includes both a High School and Professional Division and open to all solo voices, all ages and genres of music. You must live or go to school currently in Wisconsin. Deadline to apply is August 1st, 2020. APPLY HERE: https://www.broadjam.com/contests/details/contest/index.php

Congratulations to Joshua Kohl, tenor on his great review of DAS LIED with the @Philharmonic Orchestra Freiburg under Maestro Fabrice Bollon! After a moving performance of the work by the Philharmonic Orchestra Freiburg under Fabrice Bollon with the outstanding soloists Anja Jung (alto) and Joshua Kohl (tenor), there was long applause in the Freiburg concert hall, which was somewhat sketchy due to corona fear. [...] Joshua Kohl's tenor has enough radiance to assert himself against the full orchestra. Mahler often uses the voice as an additional orchestral color - it needs powerful voices. https://www.badische-zeitung.de//kraftvoll-konturierter-ab

Quite the amazing reviews for tenor Ben Gulley for his Dick Johnson in FANCIULLA DEL WEST with Opera Orlando. Gulley has a passionate and persuasive tenor that will make you believe anything. Like his soprano and baritone colleagues in a performance of La fanciulla del West, the tenor who sings the rôle of the fugitive bandito Ramerrez, alias Dick Johnson of Sacramento, not only faces the considerable demands of Puccini’s music but also contends with the reputations of a...cclaimed interpreters of past generations, most prominent amongst whom are Caruso, Giacomo Lauri-Volpi, Mario del Monaco, Franco Corelli, Richard Tucker, and Plácido Domingo. The singing of Opera Orlando’s Johnson, Ben Gulley, occasionally brought to mind the work of another expert Johnson, Gianfranco Cecchele, but Gulley’s portrayal of the reforming bandito relied upon no one’s instincts but his own. Bounding into the Polka, asking to be introduced to the rascal who promised to ‘curl his hair’ for requesting water with his whiskey, Gulley’s Johnson reacted to seeing Minnie as though he had come face to face with the barrel of a six-shooter. An accomplished actor whose psychological transformations shown on his face, Gulley insightfully limned the evolution of Johnson’s emotions. The tenor ascended to the B5 at the beginning of the duet that ends Act One with freedom that few Johnsons past or present could equal. Gulley’s upper register was reliably exhilarating, having been blessed with much-coveted ping. Observing Minnie in her lonely cabin instigated a new deluge of feeling in Johnson, depicted by Gulley with vocalism that at once gleamed with romantic ardor and shuddered with shame and doubt, and his correction of Minnie’s mispronunciation of Dante was affectionate rather than condescending. His true identity spitefully revealed by Rance, Johnson’s recounting of the circumstances of his criminal past was sung with anguish that only increased the focus of Gulley’s vocal emission. This Johnson’s flight from Minnie’s cabin was so abrupt that many people in the audience were visibly startled when the shot that felled him rang out. Nursed back to health by Minnie, Johnson is captured by the Cloudy Mountain posse in Act Three, and his captors’ preparations to hang him give him the opportunity to sing the aria ‘Ch’ella mi creda libero e lontano.’ Jensen set a slow tempo for the number, and Gulley’s broad phrasing and galvanizing top Bs justified the choice. The tenor’s singing in the opera’s final scene, as Minnie persuaded the miners to show mercy and reunited with Johnson, evinced an aura of wonder, his voicing of the liberated man’s thanks to his ‘brothers’ candidly articulating relief and gratitude. Confidently confronting the rôle’s many difficulties, Gulley was a Johnson who earned his pardon. https://www.voix-des-arts.com//performance-review-giacomo- https://www.google.com//os-et-opera-orlando-girl-golden-we

Congratulations to Ryan Kuster on his great review as Figaro in Le nozze di Figaro with Hawaii Opera Theater! As Figaro, baritone Ryan Kuster, tall, handsome, with good stage presence, created an appealing leading manhe shone in his reflective aria in the final act, sitting on the edge of the stage before a closed curtain. Ruth O. Bingham, Hawaiiopera.org, 2/16/2020