When I decided to make the 140-mile trek to sit down with a few of the Apprentice Artists at this summer’s Lake George Opera Festival, I had no idea I was in for such a treat. After a few unplanned detours on my way out of New York City, the miles began to fly as I admired the beautiful rolling hills and endless trees along Route 87, stretching from NYC to upstate New York.
And the stunning views just kept coming as I drove into Saratoga Springs, the festival’s home. From the green lawn and fences of the racehorse tracks to the multicolored hanging flower boxes lining historic Broadway, Saratoga Springs is no doubt a destination spot.
While visiting with five of the eight Apprentice Artists at this year’s program, it was quickly apparent that I was not alone in my admiration for the area. But their admiration didn’t end there. They spoke glowingly of LGO, YAP director John Douglas, and all of the memorable experiences already enjoyed during their first two weeks.
Bass baritone Seth Carico, no stranger to the Young Artist scene (having participated in YAPs with the Chautauqua, Nashville, and Forth Worth Operas), said his first two weeks with LGO had been challenging, but enjoyable. The schedule was full, but not too full, allowing him time to practice and digest what he was learning.
Much of this is credited to Douglas. In the time between contracting the artists and beginning the program, Douglas exchanges e-mails with the artists, gleaning what repertoire the singers already know and what they’re willing to learn. He then tries to find the happy medium of old and new rep that will please both audiences and singers alike.
That doesn’t mean singers don’t sometimes feel overwhelmed. Soprano Sarah Beckham plays the lead role in LGO’s 2009 workshop premiere of a new opera, Eleanor, based on the life of Eleanor Roosevelt. Beckham never leaves the stage in the course of the two-hour opera, which means learning a lot of new music. Beckham confessed that after messing up on several musical passages, she had a breakdown during one of the first musical coachings.
Douglas came to the rescue, first listening to Beckham’s frustrations and then giving her a little pep talk. He told her not to be too hard on herself, to allow time to learn and process the music, and to not expect perfection immediately, if ever. Beckham described this as the most valuable experience of the program so far, a lesson she knew she would take beyond her summer at LGO.
Douglas’s sensitivity shows his ample experience working with young artists. Prior to his seven years at Lake George, he spent significant stints with Chautauqua Opera, the Ashlawn-Highland Festival, and Central City Opera. Now each June he leaves his September-to-May job as music director of opera at Temple University in Philadelphia to spend nearly two months tailoring LGO’s training program to that summer’s participants.
In addition to preparing Eleanor (the YA summer show) and doing concerts for various community events (including a Schubertiade), the Apprentice Artists also sing small parts and cover larger roles in LGO’s other summer offerings, Madama Butterfly and Don Pasquale. Everyone agreed that working with the mainstage artists was definitely a highlight.
Soprano Youna Jang, a studio artist at LGO in 2006 and now returning as an Apprentice Artist, is covering the role of Cio-Cio-San in “Butterfly.” When the main soprano arrived late, Jang had the opportunity to sing the role at the first sing-through with conductor David T. Heusel, an invaluable experience on so many levels, she said.
In an industry where hundreds of singers vie for a very few select YAP spots, I was curious to know if these singers could remember anything particular about their LGO audition that may have landed them the job. Tenor Patrick Kelley-Alvarado said he did around 22 auditions last fall while subletting in New York. Consecutive auditions all in one location definitely put him in his groove, he said. Carico agreed that repetition was key, saying that his LGO audition was his last of the season and his third that day.
Mezzo soprano Ashley Kerr said this was her third year auditioning for LGO. While she never received an offer, she did receive comments encouraging her to sing for them again. One note was even handwritten, she recalled. This kept her coming back, and the third time was the charm.
Douglas agreed that singers often never know how close they might come to getting an offer. One soprano auditioned two years in a row, and both years she was his second choice. The third year, when he knew he had a place for her, she didn’t return. He saw her later and asked her why. After two “no”s, she assumed they didn’t like her.
After listening to them rave about the great housing facilities, the terrific personalities of their fellow colleagues, and the wonderful working environment, I finally asked these singers if there was anything less than stellar about their summer so far.
“No good Mexican food!” Kelley-Alvarado exclaimed, and the group all laughed in agreement.
If that’s the worst thing Lake George Opera has going for it, they’re definitely doing a lot of things right.
