Every generation of singers has enjoyed certain, more obvious pathways to help shape their careers. The impresario, the opera house, the touring company—these entities have all contributed, at different times in history, to the building of voices. Today, it is fair to say that the operatic training program—more specifically the summer program—has become the new pathway. Summer programs are helping singers shape, define and establish a direction for their careers—but singers who “pay to sing” to benefit from these programs need to get a certain amount of critical feedback. Therein, as they say, lies the rub.
How do singers get the feedback they want and need to advance their careers? Conversely, how do training program teachers provide that feedback in an appropriate way? How much of a reality check is overstepping the boundaries?
I must admit this is a difficult subject to begin to tackle. Feedback is the very essence of a singer’s life. Even after singers establish a career, they still seek feedback. Performance artists, by their very nature, are dependent on the opinion of others for success.
First, let us define the word “feedback.” Consider a scenario: A singer sings for someone who gives them an opinion about what they saw and heard, all with the intent of making the singer better, or more precisely, more marketable to the people who have the ability to hire that singer. Many things play into this moment: the singer’s history with that teacher (or lack thereof), and the age, experience, and expectations of both singer and teacher.
So many singers seek validation in these moments, wanting to be told that they are good and just need a few small tweaks to go forward. Others may come into it feeling that they need much work, that they are talented and just haven’t found the right person to guide them. The layers are endless and impossible to discuss in one article. Indeed, an entire book could be written about the philosophies and psychologies of the singer-teacher relationship—but targeting attitudinal approaches to the operatic training program scenario is what I want to concentrate on here.
Dr. Roger Smyth, a noted New York psychologist, puts the situation into perspective.
“Fundamentally, it is very difficult to be an adult.”
This is true for both educator and singer. Both must come into the moment with a true sense of maturity and kindness.
“What are singers seeking to find from another person, and what are they willing to accept?” Dr. Smyth continues. “If you act like a child, chances are you get treated like a child: You’ve gotten what you asked for.”
A singer who is told what they do not want to hear might not respond so kindly to constructive criticism.
“It is the child that throws the tantrum.” Dr. Smyth explains. “And this is also very true for the person giving the feedback. What are they coming into this trying to achieve? Why would they care about you as a singer? Finding a coach or teacher who will work for you is a difficult process and takes courage.”
Of course, validation doesn’t always happen. So often, we hear singers talk about someone who said something hurtful to them, repeating it to the next coach or teacher for them to discredit. We remember the bad comments and carry them with us like Purple Hearts—but when should we start listening to those voices, and when should we start to agree with them?
When singers attend an operatic training program, we have to assume that their first priority is to gather information and process it for their own gain. They can do that only by listening to what, how and why something is being said. It is healthy to look first at the source of the information and ask yourself if the person who is providing the feedback might have something to gain by their actions. A negative person might carry their own frustrations and in turn, take them out on you. A person who gushes over you might be in the process of building his or her own studio and want to reel you in.
It is so important, with all that being said, that you apply the Golden Rule here: Treat others as you would like to be treated. Kindness should be not just in your actions, but also in how you receive someone’s comments. Receiving information in a positive way is as important as the giving. All advice has to be translated into terms that are meaningful to you and in turn, make you a better singer. Even if that advice is something you don’t want to hear—if, for example, you ask about your weight being an issue—be prepared to hear the word “yes.”
Like many voice teachers, Julian Kwok, a voice teacher and coach in New York City, has encountered singers who have been down the wrong path and are beginning to listen to the feedback so they can change direction. Julian received his doctorate from Northwestern University and has worked with many singers in operatic training programs, namely Virginia Opera’s Apprenticeship Program and the VOICExperience programs in New York, Chicago and Orlando. He has found that timing is everything.
“The important thing is to wait for an invitation,” he says. “One needs to be asked—otherwise, do not offer an opinion. What I look for is the singer that seeks answers in private, asking genuinely considered questions and not just seeking generic advice or validation.”
Julian’s impact on most singers with whom he’s worked has been positive, prompting great changes in their attitudes and their voices. He offers some advice to the giver and the taker. For singers, he has this to say:
“Listen to the other singers in these programs you attend in the first days. Find the ones you respect as singers and artists. … Seek them out and ask who they work with. Finding a common name among your favorite singers, especially your peers, will help you find the right person to investigate for feedback. Then, when you pursue someone, engage them, make them want to work with you by your manner and your energy. Do what you can to bring something positive to the table.”
And for teachers:
“In a program, a singer is there for a short period of time. It is impossible to know their history, direction and methods of learning. Caveats to what we say to each singer are essential to being well received. Begin with phrases such as, ‘I don’t really know you, so I’m only talking about what I see here,’ or, ‘Obviously, you should talk about this to the people you work with on a regular basis.’ Acknowledging the fact that what you are saying is just your version of the truth gives you and the singer an option to discard the feedback. ‘Remember this is my opinion’ is an important phrase before presenting something that is strong and could be sensitive.”
As a director of operatic programs and a singer myself, I can conclude the following: A summer program usually means touching base with several different people for a very short time. Wasting time getting your feelings hurt means you are not getting your money’s worth. Accessing the data is a form of listening without ego. Assume that people mean well and then see if it helps you as an artist. But don’t be self-defeating. Once you’ve experienced a negative response from someone, simply walk away.
“First time, shame on them; second time, shame on you,” quips Dr. Smyth.
For the program teacher, Julian adds this advice.
“To teach is not to show how wonderful you are as an educator. Tuning into the students and giving them what they need now is essential. Make changes with every lesson. … It’s about the singers and not you.”
Actually, lest we forget, as important as we all are to this creative process, it’s all about the music.
