If anyone ever thought that fine classical performance training might be a rarity in Texas, the Houston Opera Studio has proven it isn’t. Founded in 1977 by Houston Grand Opera General Director David Gockley and composer Carlisle Floyd, the HOS has risen to premier status in the world of young artist programs.
“I received what I believe was some of the best vocal and role training in the world, by truly world-class instructors and artists,” says Bruce Ford, tenor and HOS alumnus from 1979_1981. “It gave me not only the tools of creativity but, most important of all, precious stage time…It was undeniably valuable.”
Chad Shelton, a tenor in his third season with the HOS, agrees. “At Houston you’re encouraged to have your own ideas and to express those ideas,” he says. “That’s the transition between graduate school and a performance career–you’re treated with more respect and professional courtesy.”
Gayletha Nichols, director for the last seven seasons, feels the success of the HOS is rooted in the flexibility of the program. “Individuality is our strongest point,” she says. “We meet needs individually–not just living needs, such as housing and stipend needs, but performance needs as well.”
The program itself, while focused on performance, integrates many facets of the performer’s life. Students accepted into the program will perform in operas while learning fight choreography, stage movement, foreign languages in a one-to-one environment and audition techniques, and receiving instruction on taxes and personal finances. The goal of the HOS is to not only provide the artist the opportunity to sing onstage but also to help them come to terms with the demanding life of the performer.
Nichols says the program is not designed as a replacement for graduate school. “I can count on one hand the number of undergrads we’ve accepted,” she says. The program is intended to be the next logical step from graduate school, the transition from academia to full performance. The structure of the program, which can be either two or three years depending on the needs of the vocalist, reflects that transition: “The first year,” Nichols says, “is self-education–what you need, which languages, and what additional vocal training.”
The last year’s emphasis is on career development. Artists learn to network, including the basics of keeping track of performances, contacts that have been made, and even fundamental courtesies such as thank-you notes for auditions.
But as with any good young artist program, performance time is key. “In the last two years, I’ve been in every (Houston Grand Opera) show but one,” says Shelton. “The stage experience has been great. I’ve grown vocally, dramatically, even personally.” Shelton’s case may be somewhat unusual in that he’s been the only tenor for the past two seasons. The third season, his last, will find him sharing roles with an incoming tenor, which gives Shelton more flexibility.
Nichols says she doesn’t accept singers based on exact numbers of tenors or sopranos; if someone shows the spark of excellence, they will be invited to join. While a definite number of roles is not guaranteed, the sheer number of performances does show the opportunities involved–in the 1998_1999 season, there were 10 singers and 54 roles to be sung.
Opera is the primary function of the HOS. “Recitals are not a focal point for us,” says Nichols, “because there’s not enough time to develop them appropriately.” If a particular singer shows aptitude in that direction, exceptions will be made. When recitals are included, they are usually part of a fund-raising drive.
Touring is not a part of the HOS program, as singers are kept busy onstage in Houston–so busy, in fact, that singers are not encouraged to pursue outside opportunities until their third year. Shelton sees that as a slight disadvantage: “There’s not much time for outside work.” But he agrees that for the first two seasons, he would have been hard pressed to find time for outside roles.
While some singers would consider the lack of outside opportunities too restrictive, Nichols has her reasons. “Students in a three-year program should be spending their first two years performing under our direction, or they should be studying. By the third year, they can sometimes be released ‘on loan.’”
If singers are spending every waking moment performing or learning about the performing life, how do they support themselves in Houston? The HOS pays a stipend to cover basic living expenses as well as training costs, such as master classes and one-on-one vocal training and language instruction. Health benefits are included, and such items as performance clothing allowances and foreign travel costs for summer performances are negotiable. Not included are transportation costs, and a car is a must in Houston. Any costs associated with auditions for companies other than Houston are also not covered. “We’re not paid a lot, but it’s enough to live in Houston,” says Shelton.
What does it take to get into the HOS? The competition is stiff. Nichols estimates that there are nearly 500 singers in the preliminary auditions each year, competing for eight_12 slots. But, she cautions, don’t let the numbers stop you from trying. Nichols has been known to choose singers other programs have not accepted. “I’ve had a couple of people tell me they were going to hang it up if they didn’t get into the HOS,” she says. “They’d tried for years to make some headway in their performance careers and were shot down time and again.” But Nichols felt some of those singers “showed great promise…(and) these people are still enjoying strong performing careers.”
With approximately 120 alumni since the program’s inception, the statistics for success are excellent. “Over 90 percent of the artists who complete the program have gone on to performance careers,” says Nichols. “There’s another 2 to 3 percent who teach music full-time as a career choice.”
Shelton feels he can see a difference in his own career already. “Friends in other programs tell me, ‘You’re so lucky.’ I got management this spring, and I wouldn’t have without Houston. They put me out there with their stamp.”
Ford tells of a master class he participated in at Houston. After he sang for the artist, she asked him what he wanted to do, and he said he wanted to go to Europe. Her response was, “What’s stopping you? Go for it, you’re ready!” Upon reflection, Ford realized she was right, and his training was complete.
Years later, as an experienced Rossini singer, he sang with the same mezzo in her farewell Rossini opera on the stage of the Royal Opera House in London, all the while remembering one thing she’d said to him back in that master class: “Keep your eyes on the prize.” Memorable advice from a memorable master class with Marilyn Horne.
Nichols’s voice can’t conceal the pride she feels for the HOS. “It’s an unbelievable joy to provide this service.”
