The Oxford American Dictionary defines “profession” as an “occupation that involves prolonged training.” Many professions have more or less specific, delineated paths of prolonged training. Those who choose singing as their profession, however, must choose from a myriad of options the means for gaining this prolonged training (sounds delightful, doesn’t it?). From bachelor’s degrees, graduate degrees, artist’s diplomas, private lessons, private coachings, YAPs, to the school of hard knocks, the options for training can seem endless.
Many teachers, coaches, and colleagues will swear by their particular training “cocktail” as being the one and true method for success. Their formula for success, however, might not be for you. With all of the available training options, how do you know what will work best for you?
We welcome you to the annual Classical Singer Summer Programs issue, where each January we make an effort to let you know about one type of training opportunity available for singers: summer programs.
Summer programs run the gamut of specialties. Some offer singers complete roles, and some the chance to sing with orchestra. Others focus on the singing-actor, and yet others on learning a language while experiencing another culture. In this issue we highlight a variety of programs that focus on very different elements of training young (and not so young) singers.
If you’re interested in singing complete roles in both musical theatre and opera, check out the Seagle Music Colony (p. 64). Three-time participant Wes Mason shares highlights of this program, including working with living composers and the strong sense of singer community.
If Lieder is your cup of tea, read about the Franz-Schubert-Institut (p. 58). Program director Deen Larsen has spent the last 30 years developing his “baby” (as he calls it) in beautiful Baden bei Wien, Austria. Singers delve into the poetry and music of the German Lied while experiencing the culture that inspired this genre’s poets and composers alike.
For a program on American soil that gives singers the skinny on auditioning in Europe, discover the Memphis Opera Song Academy (p. 50). Diane Dietz submitted her article while traveling abroad on her first European audition tour, made possible by the information, contacts, and skills she gained this last summer.
If you are looking for something a little less “mainstream,” read about one singer who turned producer and premiered her own show at the Minnesota Fringe Festival (p. 46). From creating, to directing, to staging, to producing, and performing, this singer did it all. Bottom line: she sang to sold out crowds and had a great time doing it.
For the “mature” singer, finding a good summer program can be a challenge, but the Hawaii Performing Arts Festival has created a spot for you. The “mature” singers at this program proved that you can learn, change, improve, and grow at any age.
These are just the tip of the iceberg. For more options, consult the summer program survey review (p. 74) and the summer program directory (p. 84) for a host of other options for your summer. Likewise, you may want to consult Classical Singer’s forum for singer feedback on these summer programs and more at www.classicalsinger.com.
Whatever options you choose for your training cocktail, may this issue be inspirational in the process.
