I am thrilled to have received some questions from young singers at the college level. Their concerns are ones that I had during my school days, and I am more than happy to address them.
The first question I received asked what steps to take following an undergraduate degree. After obtaining an undergraduate degree in music, for a singer I recommend going into graduate school. I feel very strongly about this.
Singers need that extra time in school, within a focused environment, in which to hone the beginnings of their craft. The voice takes time to mature. The singer needs time to integrate his or her technique, and for that, the time in graduate school is ideal.
I encourage young singers to obtain their undergraduate degree in a university with a good music program—but I encourage them to obtain their graduate degree from a conservatory.
As an undergrad, you are probably living away from home for the fi rst time, a time when you will be forming and shaping your ideas and views of the world as a young adult. Doing this in a place where you are surrounded by
other students who have different dreams, goals, and interests means you’ll enjoy a richer experience. You will complement each other’s perspectives in a much broader way than if you were surrounded strictly by other music
majors.
By the time you enter grad school, however, you are ready for a highly focused concentration on music and your voice. Once you have your grad degree, I recommend a Young Artist Program, as well as entering as many competitions as possible.
I received several questions and comments on the unpredictable aspect of the field of classical music. The uncertainty of achieving success—or even fi nding a job—prompted one young singer to question going into a
conservatory at all. You are not alone! I know your angst well. I went through all of this when I was in school.
I had considered getting an additional degree in something other than music, just to make sure I had something to fall back on. I’m sure many young singers have heard this talk from their parents.
My father, however, who is not a musician but a psychoanalyst, encouraged me to focus all of my energy on my music and training. He put it in the following light: “We are all born with many gifts. There is always one gift, in particular, with which we most identify and through which we can become a complete person. It is our duty to discover what that gift is, and to dedicate ourselves to it.”
I must have been about 19 years old when he told me this, and it made such a powerful impact on me. I found I had the inspiration and joyful energy necessary to apply myself, without fear, to my goal. Only through giving all of your energy to your goal can you even remotely begin to reach it.
It takes a tremendous amount of courage and trust to surrender yourself to your dreams, but it is well worth it. Keep in mind that your teachers will offer you feedback and guidance. They can help you decide which path is best suited for you. This is a competitive field, but like any competitive field, your greatest competition is with yourself. Just put your blinders on and go full steam ahead!
Another great question I received has to do with what singing jobs to take as young singers. It is important to choose your repertoire carefully. Sing things for which your voice is abundant. This way, you can play much more
with the written page and your imagination. Remember, the written page is your canvas and you are the painter. It is up to you to shade it, design it, and make it your own.
As a young singer, you will be offered many different roles. Some may be beyond your vocal capabilities. Although it will be difficult for you to say “no,” don’t accept roles that are beyond you right now. The role may be right for you in the future, but if it is not within your capacity now, you could hurt yourself. Invest in yourself for the long haul. Have patience, tenacity, and a vision.
I offer the example of the great soprano Mirella Freni. She has said in interviews that throughout her career she has said “no” to roles more often than “yes.” With her amazing and long career, imagine how many times that must have been. She has managed to maintain her gorgeous, pure, and youthful voice.
A stretch in repertoire, now and then, is a good idea. It’s all about timing, about knowing when to take these risks. You and your voice teacher will know when it’s right to do so.
