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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
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Original Article:
Crossing from Theater Directing to Opera
Staff Yuval Sharon, stage director, Ned Canty, stage director; James Marvel, stage director; Dona D. Vaughan, PORTopera
Making Connections9/24/2008
Being a stage director in opera requires a unique set of skills. Panelists who successfully cross over from theater to opera will discuss:
  • Working with opera singers vs. working with stage actors
  • Relationships with conductors and stage managers
  • Finding opportunities in both fields

Related Article(s):
Creating and Performing Educational Programs
Kathy Erlandson Soroka ,
Voices1/1/1900
As young singers await their big career opportunities, they may lose sight of the opportunities they have now to practice their craft and share generously with audiences. Young singers often forget the most important part of being an artist — connecting their humanity to the music and to their audiences.
Making a Career: Character Singing
Peter Russell ,
Voices1/1/1900
Just about every serious student of voice dreams of a prestigious career in starring roles on the world’s great stages. The reality, however, is that only a small percentage will succeed in achieving the loftiest heights as Violetta, Carmen, or Rodolfo at the Met and La Scala.
Changing Focus: Making the Switch from Performer to Administrator
Todd Schultz ,
Voices1/1/1900
Who will be the next generation of opera administrators? Finding qualified and enthusiastic new staff members can be very difficult, especially when companies are looking for a person with operatic knowledge and a dedication to working in and promoting opera. New staff members traditionally come from other arts organizations, or they come from the business world but have an interest or background in liberal arts. However, another source of employees may be right under the noses of today’s opera managers: the performers on our stages, in our rehearsal halls, and in our orchestra pits.
Serving the Production
Kelley Rourke ,
Voices1/1/1900
Every production is a collaboration, but none more so than a new production, when the physical production may, literally, be built around the singers. While such an experience offers a wonderful creative opportunity for all involved, it can also involve more trial and error, as the members of the creative team test their ideas in the rehearsal room and onstage.
Opera Ed 101
Paula Winans, Director of Education, Lyric Opera of Kansas City ,
Voices1/1/1900
When you are hired to sing at an opera company, singing your best is certainly a priority, but not your only consideration. In this volume of Voices, our series highlights expert advice on various components of working well with the company who hires you. Our last issue focused on the relationship between you — the singer — and stage management. This issue's article looks at the relationship between you and the company's education department.
The Singer Who Performs
Jay Lesenger ,
Audition Connection1/1/1900
When young artist programs select their roster for upcoming seasons, they often engage in a process with several stages. The screening process is beneficial to the company; instead of spending time and money on an endless procession of live auditions, program directors can focus on artists who have the requisite skills for the program. But the process is also beneficial to you.
OPERA America's Action-Oriented Think Tanks
Kelley Rourke ,
Opera America Magazine1/1/1900
OPERA America's Conference is the largest and most visible annual gathering of the opera community — but it is not the only time opera stakeholders come together. Throughout the year, OPERA America convenes meetings of industry leaders around specific topics. Although the discussions vary in size, scope and regularity, they share a common commitment — a commitment to action. Participants not only discuss challenges, they identify steps they can take, from the incremental to the profound, to advance the field.
Alternative Paths for Singer Training
Jocelyn Dueck ,
Opera America Magazine1/1/1900
Another opening, another show! For most opera companies, regularly-scheduled mainstage performances are at the center of their activity. The rhythm of production influences all company operations, from marketing and fundraising cycles to the training and performing opportunities available for young singers. For companies that focus on new work, however, a regular mainstage season — with a set number of full productions in a fairly fixed schedule — is emphatically not the raison d’être. Instead, the public events offered in any given season vary according to the needs of the creative artists. With their orientation toward process rather than production, these companies provide a very different environment for singer training.
Learning to Lead
Kelley Rourke ,
Opera America Magazine1/1/1900
Those who aspire to a career in law attend law school; those who aspire to a career in medicine attend medical school. Legendary leaders in the opera field have taken a variety of paths to their professional destinations — destinations that were, for some, unexpected. Whether they entered the field as stagehands or sopranos, most of these successful leaders have shown a knack for managing their own education, often identifying and seizing learning opportunities in the most unlikely situations.

Until fairly recently, few of opera's senior managers had formal academic training in management. As more and more colleges and universities offer study in the business of the arts, aspiring and established arts managers are increasingly taking advantage of them. However, there appears to be no consensus on a single "best way" to acquire the myriad skills it takes to run an opera company — or a department within one. Interviews with a number of senior managers within the opera field revealed a variety of approaches to managing one's education — both inside and outside the classroom.
Preparing the Professional Singer for the 21st Century
Susan Ashbaker, et al ,
Voices1/1/1900
At the recent convention of National Association of Teachers of Singing (NATS) a number of experts from across the field gathered to answer questions about the business of singing. The panel included Susan Ashbaker, director of musical and artistic administration, Opera Company of Philadelphia; Diana Hossack, artistic services director, OPERA America; Donald Nally, chorus master, Opera Company of Philadelphia; Stanford Olsen, tenor; Charlotte Schroeder, artist manager, Colbert Artists Management; and Karen Tiller, general director, Opera Festival of New Jersey. The panel was moderated by Laura Brooks Rice, singer and associate professor, Westminster Choir College. In an effort to share the insightful conversation that took place, we offer this excerpt.
A Foot in the Door
Megan Young, Artistic Services Manager, OPERA America ,
ArtistLink2/12/2007
It seems fair to say that everyone in the opera world is aware of the existence of young artist programs -- the training grounds for tomorrow’s operatic power players. But many people don’t realize that apprentice programs are not just for the people who want to be on stage. A wealth of training opportunities are available for those who want to learn what it’s like behind the scenes in the areas of administration, coaching, conducting, and technical/production.
Singers Take a New Role
Anne Choe, Artistic Services Manager, OPERA America ,
ArtistLink4/9/2007
Career transitions in opera are not uncommon. Many of today's opera administrators began their study as musicians and went on to non‐performing positions within the field. A few people have had the opportunity to transition from successful and fulfilling performing careers into other areas. Several accomplished singers, including Sir Thomas Allen, Catherine Malfitano, and Peter Kazaras, are now parlaying their knowledge and experience into second careers as stage directors and offer their advice on transitioning from one artistic discipline to another.
Luck of the Draw?
Anne Choe, Artistic Services Manager, OPERA America ,
ArtistLink12/10/2007
A successful career in any art form relies on a balance of skill, determination and luck. Alone, each of these elements will only get an artist so far. Much like poker, an essential part of the game is luck and, more importantly, how you let good luck or bad luck affect you. We see the affects of luck in the entertainment world all the time — artists and athletes fail because of their inability to get past a bad break. The Academy Awards® is a good example — Movie X, which was nominated last year but didn't win, is a far better example of filmmaking than Movie Y, which won this year — Movie Y just happens to be better than all the other dross that showed in theaters that year. Sometimes, it's simply a "right time, right place" scenario.
Opera as Theatre up North
Jocelyn Dueck ,
ArtistLink6/9/2008
An abundance of summer training programs for singers exist in North America and beyond. Among them is The Banff Centre's Opera as Theatre Program. This institution, amid numerous others, is highlighted in the Organization Directory of Opera Source, OPERA America's comprehensive career resource for administrators, singers, technical/production professionals, teachers and all creative and performing opera artists. For information about The Banff Centre and more, visit Opera Source today.
OPERA America's Director-Designer Showcase
Jerome Socolof, OPERA America Artistic Services Intern ,
ArtistLink8/11/2008
Are you a stage director looking to bring your unique vision to life? A designer with a fresh and exciting spin on the operatic medium? If so, OPERA America wants to bring your talent to the attention of the entire field through its new Director-Designer Showcase.
Finding Artist Mentors
Staff Nicholas G. Russell, Linda Golding, The Reservoir; Daron Hagen, composer; Erie Mills, soprano
Making Connections9/23/2008
Opera artists experience a wide range of career paths. This session will provide:
  • Tips on identifying good mentors
  • Techniques for approaching mentors
  • Networking opportunities

Crossing from Theater Directing to Opera
Staff Yuval Sharon, stage director, Ned Canty, stage director; James Marvel, stage director; Dona D. Vaughan, PORTopera
Making Connections9/24/2008
Being a stage director in opera requires a unique set of skills. Panelists who successfully cross over from theater to opera will discuss:
  • Working with opera singers vs. working with stage actors
  • Relationships with conductors and stage managers
  • Finding opportunities in both fields
Career Transitions for Singers
Staff Anne Choe, OPERA America, Ana De Archuleta, ADA-Artists; Jane Bunnell, DePaul University; Darren K. Woods, Fort Worth Opera
Making Connections11/19/2008
No two career paths are alike, and not every singer has a lifelong career at international opera houses. This session will explore:
  • Identifying your strengths and interests
  • Best ways to use your skills
  • Taking your career to its next logical stage

Choosing A Training Program
Staff Laura Brooks Rice, Westminster Choir College, Peter Kazaras, Seattle Opera; Justina Lee, Maryland Opera Studio; William Powers, Pittsburgh Opera
Making Connections12/9/2008
Singers have an array of choices when it comes to training programs. This panel will discuss:
  • Different types of training programs
  • Knowing when you’re ready for a training program
  • Making the most of your time at a training program

OPERA America Announces Finalists in Inaugural Director-Designer Showcase
Staff ,
ArtistLink1/12/2009
OPERA America is proud to announce the finalist teams of its first Director-Designer Showcase. As part of a continuing effort to foster emerging opera artists, the bi-annual Director-Designer Showcase seeks to benefit promising stage directors and designers interested in breaking into the world of opera. It is intended to bring new talent to the forefront and connect promising artists with those who are in a position to hire them. Administered as part of OPERA America's Opera Fund, the inaugural Director-Designer Showcase is supported by a special grant from the National Endowment for the Arts.
Public Speaking
Staff , Marc A. Scorca
Making Connections1/27/2009
Public speaking is a craft that is invaluable to all professionals. This session will address:
  • Overcoming anxiety
  • Discussing your work in a clear, articulate manner
  • Speaking extemporaneously
Learning a Role Inside and Out
Staff Lenore Rosenberg, Metropolitan Opera , Valerie Beaman, Acting for Opera; Lauren Flanigan, soprano; Jonah Nigh, OPERA America
Making Connections2/24/2009
Delving into a new role is not as simple as starting from page one. Experts will discuss:
  • Creating a strategy for learning a role
  • Resources and research materials
Having a Career Beyond the Young Artist Program
Staff Janice Mayer, arts consultant, Jesse Blumberg, baritone; Carol Kirkpatrick, author of ARIA READY: The Business of Singing; Leah Wool, mezzo-soprano
Making Connections3/25/2009
Young artist programs can be great stepping stones for early career singers but they are not necessarily the key to success. The singers on this panel will discuss:
  • Important steps to take after completing a program
  • Carving out your own career path without a young artist program
Charting a Course as a Young Artist
Michael Egel ,
ArtistLink5/11/2009
Navigating the various young artist programs that populate the American opera landscape can be daunting to singers and to those who support and train them. Every season new programs emerge, each offering different opportunities and experiences to participants and each requiring different experience and talent levels. Some programs are summer only and some year-round. Some are of the pay-to-sing variety and others offer a fee-based contract. Many programs are ideal for those still completing their formal education, while some are finishing programs designed for singers on the cusp of a professional career. “Am I ready for Program X?” “Am I too advanced for Program Y?” “Why isn’t Program Z interested in me?” “How much outreach should I do?”
Letting the Lion Roar — Words of Wisdom on Developing and Maintaining the Dramatic Voice
Roger Pines, Dramaturg, Lyric Opera of Chicago ,
Opera America Magazine7/1/2009
Singers with dramatic voices — those who will someday sing heavy Verdi and Wagner roles — present a special challenge for both academic and professional training programs. At meetings of OPERA America's Singer Training Forum, challenges related to the nurturing of these rare artists are a frequent topic of conversation.
Welcome to OPERA America
Staff , Marc A. Scorca
Original Content8/31/2009
A Learning Laboratory for Opera
Adam Gustafson ,
Opera America Magazine9/1/2009
A lot is happening as OPERA America heads into its 40th year, including a virtual facelift. A new Web site design puts OPERA America’s wealth of existing resources, along with some new additions, at the fingertips of its members in a format that is easy to navigate.
Learning from the Masters
Staff ,
Opera America Magazine9/1/2009
Four artists and a producer walk into a room… no, it's not the latest reality show. OPERA America's Making Connections is an artist development program that brings established artists together with emerging professionals to discuss the wide range of skills and experience required for successful careers in opera. In the three years since its inception, Making Connections has hosted an array of composers, librettists, singers, producers, designers and directors.
Teachers Test the New M!W!O!
Sarah Bryan Miller ,
Opera America Magazine9/1/2009
Teach children to write operas? The idea may seem daunting, but the with help of OPERA America’s Music! Words! Opera! (M!W!O!) curriculum, teachers across the country have been doing just that for the last 20 years. M!W!O!’s intense five-day summer course provides teachers with the tools they need to build those operas.
Taking Action Together: An Update
Staff ,
Opera America Magazine9/1/2009
June 14 marked the one-year anniversary of the 2008 National Performing Arts Convention in Denver. Much has happened since then, including chaos in the global economy, the election of a new President and the proliferation of social networking. And of course, art continues to be made and enjoyed everywhere. A number of strategies for collective action were agreed upon, and even as the world and the arts environment have changed, a great deal of work has been done to forward those goals.
For the Love of the Game: Considering a Career in Opera Administration
José Rincón, Artistic Services Coordinator, OPERA America ,
Original Content9/30/2009
Most opera administrators working today probably did not enter college with the goal of working for a nonprofit arts organization someday. I know this was the case for me when I began studying voice as an undergraduate. In fact, I was unaware of arts administration as a field until, as a college senior, I was offered a chance to design some marketing materials for a production of Orpheus in the Underworld. By that point, I knew I lacked the same hunger for a performing career as some of my music school colleagues, but I'd retained my passion for opera as an art form and wanted to devote my energy to instilling the same passion in others.
An Evening with Designer John Conklin (Video)
Staff , John Conklin, scenic and costume designer
Original Content10/28/2009
A conversation with respected scenic and costume designer John Conklin moderated by OPERA America's Marc A. Scorca.
An Evening with Designer John Conklin (Audio)
Staff Marc A. Scorca, president/ceo, OPERA America, John Conklin, scenic and costume designer
Making Connections10/28/2009
Join us for this event featuring respected scenic and costume designer John Conklin in conversation with OPERA America's Marc A. Scorca. Selected images and samples of Conklin's work will be on display at the event.
Art and Fame: A Perspective of an Artist as a Young Man
Robert Hansen, executive director, National Opera Association ,
Original Content2/4/2010
When I was something less than two years old, certainly too young to have any real memory of it, I was photographed sitting in the middle of the dining room table wearing nothing but an over-sized and very glamorous hat. I don’t think the photo was posed: I’m sure I donned that hat myself, and from the expression on my face, I’m equally sure I expected to be noticed.

That must have been the earliest expression of my fantasy of fame and celebrity. I began my stage career at the age of five as the little prince in The King and I who crawls between the king’s legs. I relished that moment: the most special of all those child actors who comprised the royal family. Without belaboring the point, I continued performing all through my school years. I was sought after. I sang and performed everywhere and all the time, turning up as a regular in community and school projects, and even one professional program. One kind reviewer called me “everybody’s tenor” and a local philanthropist and arts supporter praised my “multi-faceted talents.” These are words of praise and encouragement that resonate in the formative years. I took the affirmation as a promise of future success. I watched the Academy Awards and Tony shows religiously, fantasizing about the day I would cross the stage to claim my own recognition.
High School Singer Open House
Dona D. Vaughn, Manhattan School of Music and PORTopera, Sarah Heltzel, mezzo-soprano; Mark Oswald, baritone/teacher, Metropolitan Opera and Manhattan School of Music; Nathan Urbach, administrative director, Lindemann Young Artist Development Program, Metropolitan Opera
Making Connections2/24/2010
In this special session geared for the college-bound, high school singers will hear from professionals working in the opera field about career options and making the most of one's education. Parents are encouraged to attend this session to learn about supporting young artists through their careers.
Good Reads: A Book List for Singers
Megan Young, Artistic Services Director, OPERA America ,
Original Content4/5/2010
At OPERA America, we love books. In our office, we have a huge library full of them with titles ranging from the studious (e.g. Schoenberg's Fundamentals of Musical Composition) to the salacious (The Private Lives of the Three Tenors, anyone?). Yes, we know we can download books to our e-readers, subscribe to just about everything via RSS and absorb today's news from our smart phones, but to many of us there's nothing like pulling a well-worn paperback out for a good read. Call us old-fashioned.

In light of our collective bibliophilia, OPERA America staff members, along with constituents of the Singer Training Forum steering committee, put together a suggested reading list for singers. Some choices are highly-specialized books for singers; others are less obviously connected to the art of singing, but provide rich fodder for thought. The books have been separated into categories for easy navigation, but note that some selections may be appropriate to more than one category.

The reading list is not a definitive list, but rather a starting point. As always, we encourage you to seek the advice of your personal network (teachers, coaches, professional contacts) in considering other important resources and areas of study. Happy reading!

Thank you to Ann Baltz of OperaWorks, Laura Brooks Rice of Westminster Choir College/CoOPERAtive Program and Kelley Rourke for contributing their favorite books to this list.
Composing Opera: A Backstage Visit to the Composer’s Workshop
Daniel Catán, Composer ,
Original Content4/14/2010
It gives me great pleasure to have the opportunity to speak with you this afternoon. The title of my presentation mentions a backstage visit to the composer’s workshop, and that is precisely where I intend to take you.

So I will start very simply; but we don’t have to start at the beginning. We will get there slowly, anyhow. I would prefer to start with Florencia en el Amazonas, my most recent opera.

Of all my three operas, this was certainly the most enjoyable one to write. From the start, which is finding a libretto to work on, it was a happy experience. But, first of all, how did I decide on the subject? How did I go about composing it? And how on earth did I get to the Amazon?
Seven Habits of Highly Effective Outreach Artists
By Donata Cucinotta ,
Original Content11/1/2010
So, you’ve been hired to take part in a studio, outreach or ensemble program at an opera company. Chances are high that you’ll be asked to sing in schools as part of your duties. Here are some basic tips that can help ensure your outreach experience is rewarding and runs smoothly:
In Conversation with Francesca Zambello
Francesca Zambello, director; Marc A. Scorca, OPERA America ,
Making Connections11/10/2010
Internationally acclaimed stage director Francesca Zambello recently became the general and artistic director of the Glimmerglass Festival and will direct its highly anticipated production of Annie Get Your Gun starring Deborah Voigt next season. Join us as this leading artist discusses her career and creative process with OPERA America President and CEO Marc A. Scorca.
Cultivating the Dramatic Voice with Dolora Zajick
Dolora Zajick, mezzo-soprano; Marc A. Scorca, OPERA America ,
Making Connections3/9/2011
Dramatic singers who are meant to perform the heavy Verdi and Wagner repertoire must often find career paths outside of the standard training programs because comprimario roles and chorus work are inappropriate for their large instruments. In this session, world-renowned dramatic mezzo-soprano Dolora Zajick will discuss the process of nurturing the dramatic voice and career options for these rarefied Fächer.
World Voice Day 2011
Artistic Services Department ,
Original Content4/4/2011
As many of us in the opera field focus on the training of the singing voice, we are keenly aware that care of the voice extends beyond the practice room and performance stage. Maintaining one’s singing instrument involves a thorough understanding and consideration of the effects of diet, exercise, climate and sleep on the body and voice — all of which are variable and unique to each individual. While opera professionals are hyper-aware of their vocal health, voice care professionals such as ear, nose and throat specialists treat a number of patients who develop permanent vocal damage that could have been avoided with proper preventative care. As a result, medical professionals instituted World Voice Day as both a celebration of the human vocal folds and an effort to raise awareness of the vital role the voice plays in education, social interaction and careers in politics, business and performance, to name a few.
In Conversation with Lauren Flanigan
Lauren Flanigan, Marc A. Scorca ,
Making Connections5/25/2011
Soprano Lauren Flanigan has performed in more than 100 operas at major houses all over the world. She is a champion of works by living composers and a mentor to aspiring and emerging singers. Join us as this celebrated singing actress sits down with OPERA America President and CEO Marc A. Scorca for an evening of candid conversation.
DIY Professional Development
Laura Day Giarolo, Director of Learning & Community Engagement, OPERA America ,
Original Content8/4/2011

Conferences and informal conversations alike provide opportunities for professionals to learn from and share with one another, building on the strength of their shared experiences. OPERA America provides several opportunities for mentors, mentees and peer groups to reconnect through in-person Forums, online chats and listserv conversations, and other arts organizations and arts service organizations offer similar services. Weekly or monthly e-newsletters (like OperaLink) have been known to spark conversations around the water cooler, but many of the more recent transformations in do-it-yourself professional development (DIYPD) have come through the blogosphere and through social and professional networking sites.

OPERA America’s Career Guide for Opera - Something for Everyone!
José Rincón ,
Original Content11/1/2011
If you think OPERA America’s Career Guide for Opera is just for singers, think again! The Career Guide for Opera is full of articles, videos and podcasts for opera artists of all types; access to this comprehensive resources starts at just $30 a year. Click through to learn about a few of the many resources you will find.
Stages of Developing a New Work
John Glover, Beth Greenberg, John Musto, Jim Schaeffer ,
Making Connections1/4/2012
The road to creating a new opera is paved with questions. Who should be on the creative team? How do you know when a work is ready for the next stage of development? When do you let the public hear it? At this session, hear from artists and administrators at the forefront of contemporary opera and gain insight into how new works are created, developed and produced.
How to be a Teaching Artist
Thomas Cabaniss, Neil Ginsberg, Amy Kirkland, Camille Zamora ,
Making Connections1/4/2012
Teaching artists educate and engage with community members through work in schools, hospitals and other social services organizations. To be successful, teaching artists must possess a wide range of business and interpersonal skills in addition to talent and artistry. At this session for all opera artists, panelists will discuss the types of opportunities available to teaching artists and how you can obtain the skills needed for success.
Acting Resources for Singers
Marc Astafan, Amy Burton, Chuck Hudson, Jonah Nigh ,
Making Connections1/4/2012

To be successful, opera singers must be able to not only sing beautifully but give engaging dramatic portrayals as well. And like singing, developing your acting abilities is a life-long process. Learn what resources exist to help you improve your acting chops at all levels of career development.

In Conversation with Stephen Wadsworth
Stephen Wadsworth; Marc A. Scorca ,
Original Content3/13/2012
Director Stephen Wadsworth’s work has been seen at major opera houses around the world including La Scala, Vienna State Opera and Covent Garden. He recently directed the Metropolitan Opera’s new production of Boris Godunov and the Broadway production of Terrence McNally’s Master Class. Join us as this leading artist sits down with OPERA America President Marc A. Scorca for an evening of candid conversation.

Stephen Wadsworth’s 2010—2011 season began with a new Boris Godunov at the Metropolitan Opera, continued with a Met revival of Iphigénie en Tauride and a production of The Bartered Bride shared by the Met’s Lindemann program and The Juilliard School, and ended with Terrence McNally’s Master Class on Broadway with Tyne Daly as Maria Callas. This season he directs Rodelinda at the Met, King Roger at Santa Fe and Don Giovanni at Juilliard, where he is, and begins a new translation of Beaumarchais’ Figaro plays commissioned by the McCarter Theater in Princeton. As The James S. Marcus Faculty Fellow and director of the post-graduate advanced training for singers at Juilliard and Head of Dramatic Studies for the Lindemann program, he teaches the full school year. He has directed at La Scala, Vienna State Opera, Covent Garden, the Edinburgh Festival and Netherlands Opera, as well as all over the United States, including at Seattle Opera, for whom he has staged ten productions, notably the Ring cycle (last revival 2013). He co-wrote A Quiet Place with Leonard Bernstein and has translated and adapted plays of Marivaux (published by Smith and Kraus), Molière and Goldoni. His work in the spoken theater includes Aeschylus’ Oresteia trilogy at Berkeley Rep, Molière’s Don Juan at Seattle Rep, the Old Globe in San Diego, the Shakespeare Theatre in Washington, D.C. and the McCarter, three Marivaux titles all over the country, and world premieres of Anna Deavere Smith’s Let Me Down Easy and Beth Henley’s Impossible Marriage at Roundabout. The French government named him a Chevalier of the Order of Arts and Letters, and he is an Artist-in-Residence at the Aspen Institute.
Singer Training and Repertoire Assignment
Brittney Redler ,
Original Content5/14/2012
In medical school, students take classes for the first two years then do rotations, during which they get to experience different specializations. This introduction to a wide variety of medical divisions is what helps students clarify where their individual talents lie. A young medical student would rarely choose their specialty in those first years to then remain in that field for his or her entire career. This is because they may have certain preferences and or talents that they simply haven't explored yet in their youth. Medicine is a huge field, so one has to explore and "date around" so to speak in order to discover the best match.

Music is similarly an overwhelmingly large subject. Even after choosing vocal performance as a major -- or even more specifically "classical" or "musical theater," a young student is facing an extremely broad range of possibilities. While training, it should be expected — just as it is for medical students — that singers explore a wide variety of music in order to develop a correspondingly varied repertoire and skill set. Learning an abundance of repertoire can introduce and develop technical skills involved in vocal production, but also certainly can build general musicianship, language and diction proficiency, and dramatic preparation and insight. The student therefore becomes familiar with many genres, styles, time periods and composers, which can only make a student a more informed performer. Perhaps a previously unknown niche in this new repertoire assortment is waiting to be discovered.
"Teacherese" for Arts Programming
Clyde Berry, Director of Education, Fort Worth Opera ,
EducationLink10/12/2012
As the new school year gets underway, it is important to remember the importance of the relationship with classroom teachers. Below, Clyde Berry, a classroom teacher for more than 10 years, offers "teacherse" for those working with teachers.

Every classroom teacher, especially with the current implementation of No Child Left Behind, has a very challenging task in creating smart lessons that will lead directly to high test scores. No other time is given to extracurricular or enrichment lessons, as schools/teachers with low test scores face serious disciplinary actions from their own school systems. While this is a serious impediment to the education paradigm, the bottom line of funding high-testing schools has become all important. Administrators will not allow anything to interfere or pull from test prep time and therefore risking funding.

Summer 2014 Magazine Issue
  • Summer Apprenticeships
  • Opera Tours for Board Members
  • My First Opera by Speight Jenkins
Contact Us
330 Seventh Avenue, New York, NY 10001
P 212-796-8620 • F 212-796-8621
Info@operaamerica.orgDirections
From Airport:
The easiest way to reach the OPERA America offices is to get a cab at the airport. Cost is $40-45
(not including tip).
  • JFK - Take the AirTrain ($5 - approx. 15 minutes) to the Jamaica Street Station and transfer to the Long Island Railroad (LIRR). Take the LIRR to Penn Station ($12 - approx. 35 minutes). See Penn Station directions below.
  • LaGuardia - Take the M60 Bus to the Hoyt Ave/31st Street. Get on the or Train and take that to 42nd/Times Square Station. Follow the Times Square Station directions below.
  • Newark - Take the New Jersey Transit train to Penn Station ($15 - approx. 45 min). See the Penn Station Directions below.

From Penn Station/Madison Square Garden:
Leave the station through the 7th Avenue/33rd Street exit and walk south for four blocks. The building is on
the right hand side.

From Grand Central Station:
Take the Train to the 42nd/Times Square station and transfer to the Train.
Take the Train to the 28th Street stop and walk north on 7th Avenue.
The building is on the same block as the train stop.

From 42nd Street/Times Square:
Take the Train to the 28th Street stop and walk north on 7th Avenue.
The building is on the same block as the train stop.

For more detailed directions, most up-to-date pricing or to specify a different starting location, please visit the
MTA Web site.