Musical Theater Cut Class
International Bass Matthew Anchel has worked at places like The Metropolitan Opera, LA Opera, Glyndebourne, Staatsoper Stuttgart, and Carnegie Hall — but he is also a gifted voice teacher with a large voice studio in New York City. He teaches across genre and style — from classical to musical theater to drag performance — and has many opera singers with international careers, as well as actors on Broadway and TV who look to him for their technical foundations and solutions. Matthew has an LGBTQ+ inclusive studio.
Continuing from the first special webinar which included an overview of classical and belting technique, Mr. Anchel will take us deeper into the topic of vocal technique for musical theater singing and belting. He will also introduce the importance of having “cuts” of all of your songs to eventually bring to auditions. Students may participate as singers to get hands on time with Matthew, or as auditors. Hope to see you there!
To sing on this class $20
To audit this class $15
About the Instructor:
Voice Classical/Opera/Musical Theater: all ages through intermediate and advanced professional.
Bass Matthew Anchel, called "a voice to watch" by the Wall Street Journal, was a Grand Finalist in the 2013 Metropolitan Opera National Council Auditions. During the 2018-20 seasons Matthew joined the ensemble of Oper Stuttgart., His roles included Don Bartolo (Il barbiere di Siviglia), Benoit (La Boheme), Crespel/Luther (The Tales of Hoffman) and The Cook in Love of Three Oranges. He spent the summer 0f 2019 at the Glyndebourne Festival, covering Sarastro in The Magic Flute. Prior to Stuttgart Matthew celebrated his fourth year on the Metropolitan Opera roster, covering in new productions of The Exterminating Angel and Cendrillon. He also joined Santa Fe Opera to cover Tsar Dodon in their production of The Golden Cockerel, debuted with St. Petersberg Opera as Sarastro in The Magic Flute, returned to Spoleto Festival USA as Lamberto in Pia de' Tolomei, and sang the Bass Solo in Mahler 8 at Carnegie Hall.
The season before that included a debut with Anchorage Opera as Sparafucile (Rigoletto), a Carnegie Hall/Stern Auditorium debut in Haydn's Mass in Time of War with the New England Symphonic Ensemble, Dvorak's Stabat Mater with the St. George's Choral Society, and a return to the Metropolitan Opera for Idomeneo, The Magic Flute, and Der Rosenkavalier. Performances during the 2015-16 season included #8 in Conrad Susa's Transformations with the Merola Opera Program, Beethoven Mass in C with Spoleto Festival USA, and engagements with Annapolis Chorale, Savannah Voice Festival, Canterbury Chorale and American Lyric Theater. Engagements during the 2014-15 season included joining the Metropolitan Opera for a second season for their productions of Lady Macbeth of Mtsensk, Die Zauberflöte and Die Meistersinger von Nurnburg, and debuts with Opera San Antonio as First Soldier in Salome, with LOFT Opera as Don Alfonso in Lucrezia Borgia, and with the Annapolis Chorale for Bach's St. John Passion.
In the 2013-14 season he first joined the roster of the Metropolitan Opera for its productions of The Nose and Die Zauberflöte, sang Ferrando in Il Trovatore with Opera in Williamsburg, the Bonze in Madama Butterfly in a return to Opera San Jose, the Bass solo in the Mozart Requiem with Allentown Symphony, and a return to Opera Theatre of Saint Louis for Sarastro in The Magic Flute, a production directed and designed by Isaac Mizrahi. Performances in the 2012-2013 season included Ferrando (Il Trovatore) with Opera San Jose, Alidoro (La Cenerentola) with Knoxville Opera, and Sarastro (Die Zauberflöte) with Music Academy of the West.
For the 2011-12 season Mr. Anchel was a member of the Ensemble of Oper Leipzig, singing Zaretski (Eugene Onegin), Alaska Wolf Joe (The Rise and Fall of the City of Mahagonny), Marquis D'Obigny (La Traviata), and The Police Inspector (Der Rosenkavalier), among others. From 2010-2011, he sang with Los Angeles Opera as a member of the Domingo-Thornton Young Artist Program, performing the roles of Count Ceprano (Rigoletto) and Fourth Noble (Lohengrin), both under the baton of James Conlon. He also joined the Los Angeles Philharmonic as Dr. Chausable in the world premiere of The Importance of Being Earnest.
Other performance highlights include Haraste (Troilus and Cressida) and First Soldier (Salome) with Opera Theatre of Saint Louis; Familiare (Maria di Rohan) with the Caramoor Festival; and the title role in Le nozze di Figaro in his international debut with the Intermezzo Festival in Brugge, Belgium. He has also performed Sparafucile (Rigoletto), Enrico VIII (Anna Bolena), Oroveso (Norma), the Verdi Requiem, and Handel's Messiah.
In addition to his recognition from the Metropolitan Opera National Council Auditions, Matthew is a recipient of many other awards. They include 3rd Place in the Palm Beach Opera Competition, the Judges Award from Opera Index, and Encouragement Award from the George London Foundation, and Finalist and Encouragement Award in the Loren L. Zachary Competition. Born and raised in New York City, Matthew graduated from the famed LaGuardia Performing Arts High School, and later attended the Manhattan School of Music, where he started studying with his current teacher, Patricia McCaffrey.