Dear Editor: CFLO claims to be a professional, legitimate opera company with an apprentice program that provides a professional atmosphere for young singers …this is not so.
The company advertises that they do not charge their singers tuition. Yet my acceptance letter asked for a $50 administrative fee, and 15 copies of headshots. Bill Doherty then told me my private lessons would cost $50 per hour!
In mid-May, I flew to San Francisco from Denver to audition for the company at the San Francisco Conservatory. At the audition, the director, Bill Doherty, was not present. Representing the company was a girl by the name of Susanne, who said she was a former resident artist and now was a voice instructor for the company. The audition was videotaped.
On June 23, I flew back to Denver and brought my mother along with me. When I arrived at home I had received a letter of acceptance from CFLO dated June 9. I was excited because this was the first resident artist program I have been accepted to thus far.
I immediately called the company and spoke with Mr. Levanowitz, who is the administrative assistant. He raved about the many opportunities I would have there as far as performing. I asked him how many people would be in the program and he said around 35. He told me that I should fly to Orlando [Fla.] right away and that he would be more than happy to show me around town.
I then spoke with the director, Bill Doherty. I told him this was the first time I [had been] accepted to a program and that I was not sure what I should do first, as far as relocating to Orlando. He told me that I should get on the next flight I could to Orlando and find an apartment, because the summer classes had already started. I quickly got the next flight out to Orlando, which cost a total of $1,243.
When we arrived in Orlando we had to get a rental car—$135. We then got a hotel room for a total of $225 for a three-night stay. Right away, I called the company—and could not get in touch with anyone for two days. At 5:30 p.m. on day 2 we finally received a call from Mr. Levanowitz. I told him I could meet him in an hour. He got a little annoyed but finally agreed to be there.
We finally found the address. I did a double take when I saw it. It was a run-down home in a very bad neighborhood. I knocked on the front door and nobody seemed to be home. I called the administrative office to ask if I was at the right place (thinking that the office was somewhere else). Finally, a man with dirt, mud and sweat all over his body came out from the back yard, and introduced himself as Mr. Levanowitz! He led my mom and me to the back yard, where we saw that the administrative office is in a makeshift shack!!!
I asked him if he [had] received my $50 and headshots, which I had sent overnight express just in case I wasn’t able to get a flight out. He went into the house and came back with it, and opened it in front of me. I asked him if I could have my scene assignment. He said he didn’t know where the assignments were. He told me the director was out of town, some 10 hours away, and that he wouldn’t be back until the next morning. I asked him to call him [the director].
[Mr. Levanowitz] scheduled an appointment for me at 12 to sing for Mr. Doherty the next day. He asked if I had brought music with me. I told him no. He gave me church music. I told him that I was here to sing opera. He looked at me weird and said that he could lend me a book from the studio.
I started to get a bad feeling about the whole thing, so I started to ask him questions. I asked him how many singers were accepted into the program and he said about 10. (A few days ago, he told me that there were 35.) I then asked him if he knew who Susanne was (the girl who watched the auditions). He told me he didn’t know who she was at all. (Wouldn’t he know who was taking care of auditions, especially if she was not only a past resident artist but also a current vocal teacher?)
He then led us to the rehearsal room. You had to walk through what looked like a jungle, and mud. The rehearsal room was located in the garage, which they said they were remodeling, but the dust was horrible and there was no air-conditioning (Orlando during the summer?). He then took us into the director’s house, which smelled of dog urine, and showed us the director’s studio. By that time I had enough and told him that I had to be leaving but would see him tomorrow.
When I got into the car I was in such shock. I just couldn’t believe what I had just seen. That night my mom and I used the computer at the hotel and looked at the company’s website. The photos on the website show singers rehearsing in what looks like a backstage area and participating in master classes [in what looks] like a classroom. After seeing the facilities first hand, what looks like the backstage area is really the garage and what looks like a classroom is really a room in the house that he turned into his studio. Nowhere on the website does it say that the company is located in the director’s house, nor does it show any true photos of the facilities.
That night, around 10 p.m., I called the office to leave a message stating that I [had] decided not to accept their offer and that I was not happy with what I saw. Not expecting that anyone would answer…the director, Bill Doherty, answered the phone!! I quickly hung up. Mr. Levanowitz had told me that [Mr. Doherty] was 10 hours away by car. Apparently he wasn’t.
The next morning I was very furious and decided to just face my fears and call. Mr. Doherty answered and I told him that I would not be making my 12 p.m. appointment with him. I explained to him that I was not impressed with the facilities and that what I saw was not professional. He told me “You WILL be making your appointment today.” I told him that no, I wasn’t. I said that I didn’t think that they were a professional company and that I would appreciate my money and headshots back. He told me very angrily that he would not give me my money back and that my headshots were just some cheap photocopies and that he would see me at 12.
I hung up on him and called my father, who tried to phone him. He got the runaround for an hour saying the director is out of town. Finally, my father got a hold of the director and told him I would not be making my appointment and that he will get the music book that Mr. Levanowitz let me borrow back when he gives me my money and photos back.
The director kept insisting that I had to meet him, which sounded very creepy. My father told him that I was very upset and did not want to see him and to leave my money and photos in the mailbox, and that I would leave his book there in return.
Mr. Doherty was not happy with that arrangement, but my father told him that was how it was to be. When my mother and I arrived at his home, we saw Bill Doherty charge out of the house up the driveway. My mom became furious and charged out of the car to hand him the book. She told him that she was my mother and that I did not want to see him. He said nothing, grabbed the book from her hands and shoved my money and photos in her hands. We then went to the leasing office at the apartment building, which luckily gave me my deposit back.
If other singers are interested in CFLO, I urge them not to waste their time, talents or money. Because of what I experienced, I am very skeptical of auditioning for other programs. I know there are good companies out there, but I still will be more cautious and do a tremendous amount of research before I audition for another program.
—Tamara Kuebler
Dear Editor: I sang for “Maestro” Doherty while living in Orlando. I was informed that I had professional potential but wouldn’t fulfill it unless I [studied] with Doherty. The CFLO productions are along the lines of community theater; only those paying for lessons with Doherty perform in them. The YAP is basically a method of recruiting private students. Participants are required to find lodging and a job to support themselves. I wish to alert others that their time and money could be better spent. —Name Withheld
Dear Editor: I auditioned in April 2003 [for CFLO] and was accepted. I got a letter stating that…lessons were available through the staff. It did not state that those lessons were required. I was further told to be in Orlando on Aug. 12, 2003 for the introductory meeting.
I drove my car from Massachusetts to Florida and found an apartment. The opera company was not helpful in any way in that process, despite their earlier assurances. At the first meeting, we got a nice booklet with a calendar and also an outline of additional duties that had not been discussed at all before, the first of many nasty surprises to follow!
The “Maestro” obligated everyone to take lessons with him. He charged $50 [per] lesson with a one-lesson commitment per week through the whole season. [Lessons] usually varied from 40 to 50 minutes [with no] refund if shorter. It seemed his knowledge of music came mainly from recordings and tapes from the Met. He obligated everyone during the season to work 10 hours/month for the company, doing fund raising, giving speeches in elderly homes, selling tickets in malls and also purchasing or selling at least four tickets for each performance.
Since I had not found work, I couldn’t afford lessons and cancelled [after my first] lesson. Two days later “Maestro” told me I could not do Susanna if I didn’t take lessons with him. I told him that I was never told that I had to pay for lessons. The following day I got a termination letter stating that my participation in the program was no longer desired. He did not call me to discuss my termination. I have stayed in touch with another singer…who has kept me up to date regarding other goings on in the program.
[Doherty] cast six Susannas for five performances. He advertised each performance with full orchestra; there were just two performances with chamber orchestra, the others with piano.
I have spent too much time already thinking in what situation I was put and—aside from the monetary losses—how that has negatively affected my career. I think it is important the singer community knows the truth about what is going on at the CFLO and the unethical behavior of the principal, just to make sure no more unknowing students will fall victim to it.
—Name Withheld
Dear Editor: If you ask Bill Doherty specifically if those cast as Susanna in “Nozze” are required to pay a coaching/rehearsal fee to CFLO or to him personally, I think the answer will be “yes.” I see that as a pay-to-sing situation, with little value for the money.
—Name Withheld
Dear Editor: I am writing to warn other singers not to participate in [CFLO]. I sang [a leading role] and before the fifth performance [a] friend in the chorus informed me that he had received his pay after every performance. I asked Mr. Doherty about it and he said “We don’t pay our resident artists; the experience is your pay.” I…left immediately.
—Name Witheld
Dear Editor: As of Oct. 28, [I gave] Bill Doherty a notice of ethical and professional issues that needed to be resolved, and [advising him that] if this did not occur, he could consider the correspondence my resignation. He proceeded to send me a “letter of dismissal.” He has rehearsals in a “garage-type” building in the back of his house. The pool house is used as the office, and we had a dress rehearsal for “Figaro” in the driveway. His nephews build sets and do office work.
I have found many disheartening facets to Bill Doherty’s reputation. It seemed strange that all performances were at least an hour-and-a-half away. [I have learned] it is because he is unwelcome in the Orlando community, and blacklisted by many of the reputable venues in the area. …[I have learned]…that he is kindly discouraged from even setting foot on the [local] campus, due to [an] altercation with faculty.
—Name Withheld
Dear Editor: CFLO [is a] company which promises much, but never has the money, organization, or drive to put these dreams into action. Most of the singers were VERY good. The problems with the company lay not with the singers, but with the administration.
I will elaborate on some of the promises which were made, and then how things really turned out. Initially, after my audition, I was promised two definite roles (Alfredo, a real “bread and butter role” for me, and Almaviva), and the possibility of doing two others (Rinnucio and Luigi (Tabbaro)).
The chance to do this many roles in such a short time was too good to pass up. I quit my job in New Orleans and moved to Orlando. Almost immediately, I discovered that instead of Traviata, they planned on doing Don Pasquale. Eventually the entire production was scrapped for lack of money. The next production was to have been with orchestra, but the week before opening, we were informed there was no money for an orchestra, and it was performed with piano.
Help in finding housing consisted of Bill letting me stay at his house for a week until another [participant arrived], and then [he] made us find an apartment. Help in finding employment consisted of an audition as a singing-waiter at a restaurant. NO OTHER ASSISTANCE was forthcoming.
I had been promised payment per performance at my audition. I received no money for my performances. Money was found, however, to pay for a stage director, a set, set designer, set builders, and ringers, which were brought in from Tri-State Opera. All of these people were friends of Bill.
Bill promised Italian lessons. These consisted of one textbook (photocopied pages) and lasted about two weeks. —Name Withheld
Dear Editor: I was a Resident Artist with CFLO from January 1998-May 1999. While there, I [sang] Micaela (Carmen), Pamina (The Magic Flute) and Marie (Daughter of the Regiment) with orchestra, in fully staged productions.
At that time, singers were not paid for the roles they sang. They also played an active role in promoting and selling tickets for the shows. Singers paid for weekly lessons with Bill, which were mandatory.
I was given the opportunity to participate in a master class with legendary soprano Licia Albanese, and had a private lesson with her. Bill has become a regular adjudicator for her Puccini Foundation Competition
I would recommend CFLO to young singers in need of stage experience, as long as they understand that they have to move to Orlando and find work there. CFLO does not offer a monthly stipend, but does provide opportunities for church and occasional concert work. —Sent anonymously to CS via e-mail
Dear Editor: I have been associated with CFLO and am now living and performing as an Affiliated Artist in New York City. I wanted to bring to your attention inaccurate information reported in Classical Singer.
Resident Artists are not required to study with General Director Bill Doherty.
Many Resident Artists with this company study independently with other teachers and still perform roles with CFLO.
Singers are compensated each time they perform.
Compensation ranges from $50 to $250 per performance.
I was surprised to see such “reckless” reporting in a publication that I have trusted and subscribed to for several years.
—Sent anonymously to CS via e-mail
Dear Editor: I write this letter in light of some negative things published in your magazine and posted on your website about CFLO.
I joined CFLO during the 1999-2000 season, performing in productions of Trial by Jury, The Merry Widow, Il Trovatore and Rigoletto. The following season I began vocal training with Maestro Doherty, the best decision I have made as a singer. I have performed in 14 mainstage opera productions, many with full orchestra. The singers are compensated for every performance.
Doherty and CFLO have not only made me a better singer, actor and performer but have allowed me to enrich the lives of others through music. —Zachary F. Wheeler
Central Florida Lyric Opera Company responded to the above letters with the following statement:
The mission of the Central Florida Lyric Opera is two-fold:
• To identify, train, nurture and develop young vocal artists and to provide them with performance opportunities so that they may improve their skills and professionalism.
• To bring AFFORDABLE quality musical performances to audiences throughout Florida, thereby enhancing the cultural richness of the communities we serve.
Central Florida Lyric Opera produces 80-100 performances per year. Audience size varies from small private events to mainstage operas and concerts with an audience size of nearly 1,000 persons. Central Florida Lyric Opera brings quality classical performances to 11 counties. Central Florida Lyric Opera performers are paid for their performances. Singers are not required to study voice privately with Mr. Doherty. Some members of the Resident Artist Training Program study privately with other teachers. However, singers cast in leading roles who are not adequately prepared during rehearsals are encouraged to, at least, coach the role with Mr. Doherty, the conductor.
The Central Florida Lyric Opera is located in suburban Orlando, Florida. The area is primarily residential. The three-acre property, purchased by the director nearly six years ago, includes a 1,300-square-foot, fully air-conditioned and heated concrete building where rehearsals and classes are held. On the second floor of this building there is an additional 1,000-square-feet used for storage of costumes and props. Mr. Doherty has a private studio with a private entrance within his 2,700 square-foot home.
The Central Florida Lyric Opera’s RESIDENT ARTIST TRAINING PROGRAM is not appropriate for every career-oriented singer. All applicants are strongly urged to carefully review the handbook and company policies and procedures. It is specifically designed for singers who are in need of additional training and unable to attend the typical regional opera company’s YOUNG ARTIST PROGRAM. It is ideal for those who would prefer to focus on the study of roles in fully staged operas and benefit from numerous performance opportunities. Although the Central Florida Lyric Opera’s RESIDENT ARTIST TRAINING PROGRAM is like some of the “pay to sing” programs advertised in Classical Singer, Central Florida Lyric Opera singers are not charged tuition to participate in the training program and, in fact, are paid for each of their performances. There is an annual non-refundable fee of $50. Singers are also asked to supply Central Florida Lyric Opera with 15 copies of their headshot and biographical information. Central Florida Lyric Opera does not provide housing or salary to its performers.
Over the past 16 years there have been a few occasions when it has been necessary to dismiss a member of the training program for violating company procedures. This is the rare exception. The vast majority successfully completes the program and has found Central Florida Lyric Opera to be a valuable vocal training experience. The Central Florida Lyric Opera is a 501 C 3 non-profit arts organization that receives the support of hundreds of patrons throughout Florida as well as funding from state and local agencies and private foundations.
We would like to thank Classical Singer for forwarding to us the letters from former members of our Resident Artist Training Program.
—Central Florida Lyric Opera, Inc.
