"Where choral writing is going."

O yea! James MacMillian is crazy!! His stuff is so interesting.

MacMillan is doing chant inspired stuff? For Westminster Cathedral? Interesting. That I'd like to hear! The Eastern-flavoured thing is rather fashionable in Britain at the moment thanks to John Tavener.

That's a really, REALLY weird division. For me singer is someone who... well, sings.

There are better singers than others, and methods may vary. But uh, the only difference I can probably make is a solo singer and a choir singer. That's mostly in technique and repertoire. Some singers work in choirs, some rather do solo careers.

I don't really know where you got your grudge, but well. Just weird that's all.

I see where you're coming from, but I also see what Flint means. The distinction is between singers for whom singing itself is the primary focus, as opposed to singers who are musicians first and whose instrument just happens to be the voice, and it doesn't necessarily fall along the lines of solo and choral singer. There are people who have both magnificent voices and great musicianship, but they are relatively rare; in reality, the distinction Flint speaks of is a fact of life and a real consideration. Depending upon the application of course, as a composer I'd rather make use of the singing musician. I'll take a somewhat less stellar voice with great musicianship over an opera singer who can't count or sightread any day. If I can get both, it's gravy.

Absolutely. I'm going to need a whole passel of vocalists for this opera coming up in the spring - one character sings mostly in meters based around 13/8 - and another's music has a very TENUOUS grasp on tonality. Even the chorus needs to be able to read and pull pitches out of very little.

Oh cool, haha. You're doing another opera. Well, I'm looking forward to it already. :P