Debut Artist Award

The 2019 Debut Award Artist
Gregory Feldmann, Baritone

Joy In Singing began the Artist Award Competition in 1958, awarding the first debut recital prize to Nico Castel, who went on to a distinguished career as a singer, diction coach, and libretto translator. In the years following, over fifty singers have been presented in their New York City recital debut. We count among our past winners artists who now perform internationally, as well as those with vital and distinguished careers as music educators, concert performers, and art song festival directors. All of this activity helps ensure the future for audiences and artists passionate about art song performance.

The Joy In Singing International Art Song Competition focuses on the collaborative art of the platform recital. Adjudicators consider whether the submitted program serves the vocal and expressive range of the artistic team, while also showing language facility, interpretive range, imagination, and the ability to create mood with a variety of musical styles.  The ability to emotionally move the listener is greatly taken into consideration. 


In recent years, the artistic level of applicants has been very high.  Some of our recent winners are now singing at international venues including the Metropolitan Opera, the Royal Opera House, Zurich Opera, the New York Philharmonic, among others. To participate in our next competition, please read the information posted on the International Art Song Competition page.


 February 27, 2020 was the Debut Award Recital
 in Weill Recital Hall at Carnegie Hall

To read the review by arts critic Patrick Dillon click here 

In his own words--- Gregory Feldmann's thoughts on "Degenerate Music"

Even before I began pursuing a career in singing, I can remember always having a deep curiosity toward psychology and philosophy. I love learning about why people think the way they do, and what it is in another’s experience that might rhyme with my own even if I haven’t been through the exact same thing. Any medium of art, history, or science that provides new insight into those different from me is truly alluring. For me, singing classically has been my means of contributing toward a society that can better understand the “other.” Art song, with its intimate collaboration and performance context, provides a specific and direct means of accomplishing this. I’m so grateful to partner with Nathaniel LaNasa, who has a profound openness toward new and undiscovered songs, as well as unexplored ideas. His insight, curiosity, and consummate musicianship have been paramount in our duo’s work. 


This recital of composers censored under the Nazi regime was born out of being flabbergasted by how such rich and potent music had been left out of the canon of regular performance because of a regressive and truly destructive ideology. In addition to thwarting the mission of Nazism to suppress the art of the so-called “degenerate,” the whole project has brought us to raise questions about how and why history and the arts remember certain events and contributions, while forgetting others. 

Nathaniel and I believe these songs, their creators, and their creators’ stories have the beauty and intrigue to deserve our memory and attention. We hope that you too will be enamored with Franz Schreker’s rich harmony, stirred by the longing and homesickness expressed by Pavel Haas, and laugh with Viktor Ullmann’s take on the earthly mystic, Hafiz. But even if you leave our recital having not latched on to this music or poetry, you have granted it the honest critique that it was previously denied. Your joining us in this exploration makes for a society that judges the merit of ideas rather than a person’s intrinsic characteristics.