What kinds of experiences did the size or type of university, college or conservatory you attended offer you? Were you denied any opportunities or experiences because of the size or type of institution you attended?
I definitely was not denied any opportunities because the institution I attended was large—in fact, just the opposite. Since the school has students in every instrument and a full opera program, there are more opportunities to perform. They stage two full operas a year, the opera workshop stages many scenes, the main ensemble is comprised of about 60 voice majors, and there are numerous performance classes.
—Steve Parr
I am a soprano with a master’s in vocal performance from a conservatory. However, I got my undergraduate degree at a state university. Overall, I feel that the university is where I got my real music education. It was a much more challenging program vocally and academically than that of the conservatory. It was also a more realistic environment, where not every singer was convinced they were going to have a big career just because they got accepted into the school. In terms of money, the difference could not be clearer. The university education was by far the better bargain.
—Anonymous
It isn’t the size of the school that matters; it is the size of the program at the school. … I attended a big school, but the opera program was very small and therefore didn’t give me a lot of performing opportunities.
—Rebecca Tilley
I decided to major in music at a large university because of the wonderful reputation of the music school (great program, excellent faculty) and also the proximity to a large city (I was able to take many auditions and see plenty of performances downtown). It was also important to me to be in a university setting—I wanted to take university classes and meet students of all interests and majors. And I did all those things. I took more than two years of German courses (the German depth is an absolute gem) and some classes in the journalism school as well. I could not have had those experiences at a conservatory. I also liked having graduate students in the program, to talk to them about their experiences and ask for advice
—Meghan Dewald
The major downfall with a smaller school is having less money to work with.
—Kyla P. Settles, Brooklyn, N.Y.
There are advantages to attending a smaller institution. For example, I have been able to beef up my resume with quite a number of operatic roles, many of them in my undergraduate years, which I do not think would have happened had I attended a larger institution. However, because it is a smaller institution, the quality of the productions cannot compare to institutions with a bigger budget. Another downside is that in a smaller institution, it can be easy to suffer from the “big fish in a small pond” syndrome, for which reason it becomes essential for the student to have opportunities to sing elsewhere, such as young artist/summer programs and competitions.
—T.J., Tucson, Ariz.
It depends on how you define opportunities. If you are going to college to perform, then I think you have some issues you need to work out. College is a place to learn and not necessarily to bulk up your resume. I am working in the field now, and I can’t tell you how many times I find myself on stage with singers who didn’t sing any roles in college.
—Anonymous
I wasn’t denied anything because of the size or type of institution I attended. However, I was denied opportunities because of the political climate that existed between voice faculty members. I think this experience prepared me for the cold world. Politics exist everywhere in every profession. I am glad I didn’t emerge a Pollyanna from undergraduate school. I would have been very disappointed by the silliness, the “business” side of things that runs tandem to how well you sing.
—Anonymous
Do you think you might get more opportunities at a smaller school because the competition isn’t as stiff? Or is this a myth because smaller schools can’t offer the number or quality of opportunities that larger schools can afford?
I think that is a myth. Small schools are very competitive and offer high-quality opportunities. There may be fewer people competing for the same part, but the department as a whole is tighter knit because of its size.
—Anonymous, Springdale, Penn.
“Quality opportunities” are a myth. … Any opportunity will teach you something of quality and importance, whether it be a bad or good experience, in your opinion.
—Timothy Krause, Kalamazoo, Minn.
This question is a double-edged sword. There may be more chances to perform at smaller schools, but that can be a detriment to students in that not every 19-year-old is ready to tackle Mimi. At larger institutions, there is more of a chance of finding voices and operas that are suited for each other, but then, not every student gets a chance to perform. The performances will come, but that should never be the focus of seekers at institutions of higher learning.
—Raymond Myers-Kieran, Boston, Mass.
I attended a small liberal arts Christian school and was given the opportunity to perform a lot more there than others who … attended larger schools. (I attended a large university for my master’s degree and saw first hand that the undergrads had very few opportunities to perform.) I was able to make a connection with my professors and fellow students because of the small but mixed variety of the student population.
—Marci Wagnon
Having been to a smaller school, the competition is just as stiff—and though there seems to be plenty of opportunity, you could end up doing roles that do not suit you for the entire four years! There are more performance opportunities, in the sense [that] we always had more shows than the bigger university—but we definitely did not have nice sets (mostly using music stands and your imagination), and had to provide our own costumes. On the other hand, you get personal attention and help in your theory classes, … [rather than being] left to fend for yourself.
—Anonymous, Burnaby, BC, Canada
Larger schools do not automatically equal more opportunities; in my experience, I had far fewer. Even though a small school may have fewer students than a large school, I find that the competition is far steeper at the small school I now attend. The students have to meet more requirements to be accepted, and are usually of a higher caliber. Numbers don’t mean everything. Instead, look at what kind of students are being admitted. Do they have high GPAs? What are auditions like? Can the school give out scholarships? (Well-developed programs can. If a school cannot, it is obviously struggling, and this should be a big red flag).
—Rachel Ware, Milwaukee, Wis.
I think any school that has a strong music department (enough financing to have a stable teaching staff, more than one successful production per year, an on-going concert and recital schedule popular with both students and the community, and support from the upper university administration) can be the right choice for an aspiring singer. Take a look at who is being cast in the operas. If it is all graduate students, you may not get as many performance opportunities as you had hoped for. However, also look at whether undergraduates are able to register for diction classes, private coachings, and acting or movement classes. If these opportunities are available, you can work on your package of five arias with your private teacher, while gaining experience that many other undergraduate singers may not have.
Undergraduate years are not all about performance experiences in school. This is the time where you pay your dues to summer programs, and hopefully get introduced to the stage through opera scenes, one-acts, and comprimario roles in operas or language immersion programs to round-out your studies.
—Anonymous, New York
If you attended a conservatory, were you glad not to have general education classes as a requirement, or do you wish your education had included a few non-music-related classes?
For grad school, yes. By then, I needed to be completely dedicated and focused on my singing. But I can’t imagine missing out on those classes as an undergrad. I was so young and still had to learn so many things about myself. Locking myself in a practice room, and living and breathing nothing other than music, would have been so debilitating. Allowing yourself to mature, to think about different subjects, to experience life in a more balanced way—all of these things bring your performances added dimension.
—Dawn Kasprow Wolski, Baltimore, Md.
It really depends [on whether] you know what you want for a career. If you do, then I would say that not having general ed classes is a plus. On the flip side, for those that don’t know what they want as a career, a survey of “gen–ed” classes will help with that decision.
—Rebecca Tilley
YES!! I actually started my conservatory experience as a double degree, and dropped the whole thing after one science class! I thought, “This is NOT FOR ME.” Thank goodness for the person who invented the music conservatory, because I was able to work hard, and earn a degree, while STAYING INTERESTED in what I was studying.
—Anonymous
Since I attended both, I see the pros and cons of each. The university education prepared me for the “real” world as well as music. I found it easy to find employment when I needed to make a good living [and] I know that I will always have something to fall back on. On the other hand, now that I’ve gone back to school to do my master’s in a conservatory, I have had to work extremely hard to get up to speed with those students who have been in conservatories. Their basic skills far surpass mine.
—Anonymous, Palm Springs, Calif.
Though the conservatory I attended is within the purview of a major university, the students were not encouraged to take general education classes. I think that music students should be required to take courses in history, English, philosophy, math, science and business. All of these subjects figure into music in one way or another, and a broader education can only enhance one’s musicianship and preparedness for stepping out into the world.
—Kay Kleinerman
Absolutely, I loved not having them. However, there is a big difference between astronomy requirements and music business, for instance. I feel that conservatories need to require music business, music therapy and education courses, etc., so that students can find employment in these fields upon graduation without having to earn another four-year degree.
—Thais Schaller
If you attended a college or university, did you enjoy taking the general education classes, or were they a thorn in your side?
I have had a “love-hate” relationship with general education classes. Sometimes, I have found my course load has weighed me down [on] my personal musical journey—[causing] difficulty scheduling around music rehearsals, performances and workshops that I would really like to be involved with. But I have also met some extraordinary teachers and discovered new interest in my non-music courses.
—Emily Colwell, Newport, RI
I am glad that I have a liberal arts undergraduate education. I was able to pursue interests that were not at all available at the conservatory—such as international politics, literature and in-depth language studies—rather than just diction classes and one year of each language.
—Anonymous, New York
As an undergraduate, they were a thorn in my side. Eight years later, as an adult, I now realize how important those classes were. Our lives are not all about music. Although I hated my sociology class, I took away things that help my understanding of people I meet everyday. You are not always surrounded by musicians. It is important to have a bank of knowledge so that when you are standing next to Mr. Science Professor at a benefit, you can converse with him.
—Michelle, Rehoboth, Mass.
Any additional thoughts or advice in regards to small schools vs. large schools vs. conservatories?
Don’t be afraid to ask questions to find out if the school is doing well financially. If it isn’t, you can be sure that its opera programs won’t be well supported, because that isn’t a necessity to keep the school running. Finally, go to a place where the education is sound. If your classes aren’t challenging enough, you will not be happy. You will feel as though you’re wasting your time and money.
—Rachel Ware, Milwaukee, Wis.
Most importantly, call the schools to find a contact student who attends the school NOW, who can talk to you about their performance experiences, their academic and social life, their impression of the school, and can put you in touch with teachers, coaches and other students, so you can have as much information as possible before you make your decision.
—Anonymous, New York
Look for the teacher or coach who will work best with your instrument, and don’t focus so much on performing while in school. Get your technique and voice together, and then, when you’re ready to perform, the opportunities will present themselves.
—Raymond Myers-Kieran, Boston, Mass.
Although there can be an advantage to being a big fish in a small pond, I would have to say that it is wise also to have as much exposure to the big pond as possible. I agree with Audra Macdonald (CS, August 2005) that it may be more valuable for a singer to attend a regular university for the undergrad [degree], and then attend a conservatory or larger music school for graduate work.
I have performed with graduate students from a well-known conservatory on several occasions recently. I was pleased to discover that they had by no means any more talent than I, just larger student debt!
—Erin Lockhead, Salt Lake City, Utah
Although when asked what school I attended I am sometimes met with a wrinkled nose, I do not regret choosing a smaller school. It has offered me many chances to perform roles I probably would not have gotten had I gone to a larger school, and it seems that these days experience is a highly valued asset. It is my belief that it does not matter what school you attended, as long as you can sing, which along with a more impressive resume, makes you a more attractive candidate to whomever you are auditioning for.
—T.J., Tucson, Ariz.
As with many 18-22 year olds, it took me a while to decide what I wanted to do with my life. I was not able to decide at age 18, 19, or 20 to devote my life to performing or teaching. I know there are students who do well at large universities and/or conservatories, but for many 18-year-olds, the smaller program offers more personal attention while also offering excellent instruction.
—Lloyd Linney, DeLand, Fla.
My peers in (conservatory) graduate school had many different backgrounds, but I was surprised how many of them came from colleges or universities (big or small) instead of conservatories. I watched so many of the undergrads at my conservatory struggle and burn out, with limited opportunities and huge debt. Wherever you go, you want to make sure that you can get a lot of performing experience—it’s not going to matter whether it’s a big or small school, college or conservatory at that young age. You can always continue your education at a more prestigious conservatory when you’ve already got some experience under your belt and you can take full advantage of the coaches and opportunities available.
-Dawn Kasprow Wolski, Baltimore, Md.
On a light-hearted note, I close with the best advantage of a small school: no line for practice rooms!
—Timothy Krause, Kalamazoo, Minn.
I feel the ideal situation for an artist is a smaller conservatory setting, provided it is of a high caliber of student and teacher, and in a community rich in artistic performance and development.
—Victor Jannett, Boston, Mass.
I will be eternally grateful for my conservatory’s strong focus on languages and diction. Many small university programs can only offer one year, or maybe two, of diction training. We had four, one year for each language. So many times in my career, I have been praised for my excellent diction and understanding of the text. Also, the resources available through the music library at the conservatory were phenomenal. I used to sit for hours in the listening lab, pouring over old recordings of great singers, taking notes on their performances. Everyone should try to go to a conservatory for some part of his or her music education. Get the loans, and get at least one conservatory degree. It was the smartest thing I have done for my career, and it has definitely made me a better musician.
—Anonymous
I feel it’s all about the teacher. If you go to a school because of the name or how many operas they do a year, but have a bad teacher, you’re not going to get anywhere. As long as you can find a teacher you like and can learn from, you can sing anywhere, regardless of how much “experience” you get in college. Some working singers today never got a role in college. Some never went to college. It’s all about the teacher.
—Anonymous
If you’re really serious about becoming a musician, go to a conservatory. If you’re not sure, or if you have any doubt, go to a university. This way, when you’ve graduated you know that your money was well spent. Think about how you’re going to pay all those loans back.
—Anonymous, Palm Springs, Calif.
Don’t choose a school based on its size. Small schools have advantages and big schools have advantages. Spend some time in the community. Find out what musical opportunities exist in the community. Choose the school based on how you feel in that community.
—Bianca Constance, New York, N.Y.
You should do both [conservatory and university]. You will need more than one degree anyway.
—Thais Schaller
Young singers need to have the courage to realize when the education they are getting is not the right one for them. It is so hard at that age to walk away from the school or teacher with whom it is just not working out, but sometimes it has to be done.
—Mary Freeman, Vacaville, Calif.
The No. 1 thing in deciding on a school is the voice teacher that you will be working with. “Audition” the teacher after you have auditioned by taking a lesson with him or her. Even if she is a great teacher, you may not get along with her or like her style. Also, one overlooked thing about choosing a school is local opportunities. Are churches interested in hiring students in the area? Is there a local opera company in the city? [Are there] music festivals, etc.?
—John Warrenton, Va.
I would take back my conservatory education (that I am still paying off), if I could have had a teacher that really taught me, fostered positive practice techniques, emphasized the process over the end gain, and helped me to appreciate/find what was unique about me. I had an embittered, jealous, patronizing teacher [who tried] to beat any love of singing right out of me and replace it with feelings of intimidation and self-doubt. Luckily, after several years of healthy “detox,” I rediscovered how much I love to sing and am doing fine. My advice: Find the teacher who fits you and the rest will fall into place.
—Anonymous
It is important to know your own personality and coping skills. What is your work ethic? Do you need nurturing? Are you independent enough to withstand the competitive atmosphere that a large setting may present? All of these factors must be taken into account. You can’t forget about money. Will you get a scholarship? Will you be in debt for the rest of your life to attend a prestigious school? There are so many variables. Every person and situation is totally different.
—Arietha Lockhart, Decatur, Ga.
