“Imagine singing a concert in the middle of wine country, or taking a drive up scenic Highway 1 for an audition in L.A.”
So entices bass Matthew Trevino. Trevino moved to San Francisco to participate in the prestigious Merola program at San Francisco Opera, and loved it so much he decided to stay on and build his career from there.
Of course, the area’s natural beauty is a huge draw for anyone looking to relocate. But with the scores of classical vocalists residing in San Francisco—third largest in U.S. Classical Singer subscribers, after New York and Chicago—something else must be going on besides perpetual summer.
Our San Francisco correspondents attribute this concentration of singers to an established vocal scene, which many tout as second only to New York City’s. Richard Harrell, director of the San Francisco Conservatory’s opera program, agrees.
“Classical singing has been a part of the consciousness of the San Francisco community for generations,” he says. “That community spirit that loves vocal music is remarkable. There are flocks of avid supporters of young singers, many of whom are members and supporters of the Merola Program.”
This almost palpable buzz surrounding the vocal arts makes San Francisco an exciting place for singers, and the plethora of opera companies of all shapes and sizes makes this city an excellent alternative to New York City.
“So many young singers move to New York because they think it is the only way to start or have a career, but the harsh reality is that the sheer number of singers there puts a young singer at a disadvantage,” Trevino explains. “Yes, you have the auditions and it is an amazing city, but it may be a better choice to get some stage time and experience elsewhere before putting yourself on the New York scene.”
The elevated level of vocal activity in the Bay Area does seem to make it a great alternative for those who wouldn’t be caught dead in a Yankees hat. Many singers who feel unready, or perhaps unwilling, to make the move to the Big Apple find a happy home, whether temporary or permanent, in northern California.
Mezzo-soprano Cary Rosko has found ample opportunities for exposure since making her move.
“The Bay Area is an excellent place for young singers, in particular, to cut their teeth in anticipation of a full-time opera career—there are lots of local theaters that can serve as training grounds,” she says. “Most of these companies do get reviewed, not only by local papers, but by the city’s main daily, the San Francisco Chronicle, which is great exposure and can fill out one’s press kit in a hurry.”
Sheri Greenawald, director of the San Francisco Opera Center, cites performance opportunities as a highlight of the San Francisco singing scene.
“It’s busy, in many ways, like New York,” she says. “There are lots and lots of little companies in the area that give people an opportunity to sing, and quite a lot of contemporary music groups that also do vocal music. We have several symphony groups as well, so the place is really hopping, as it were.” But, she cautions, “I think [emerging professionals] can sing in all these smaller companies to start off, but of course will have to move on to the training program scene eventually. I don’t think it’s likely that one will go directly from a small, local company into a main house gig.”
Still, the abundance of small companies and the relaxed, friendly atmosphere can be great for a singer looking to begin or expand his or her career. Rosko sang in Boston for a number of years before moving to San Francisco.
“Coming from the East Coast, I found the West Coast to be far more open. People I didn’t even know would open their Rolodexes for me and tell me who to contact at which companies, how to get in touch with which coaches at the S.F. Opera, etc.”
Rosko’s sunny first impressions soon grew into a deep appreciation for her new city’s arts scene.
“There are a lot of communities who have a real and long-lived interest in supporting their local companies, many of which offer programs ranging from straight plays, to operas, to musicals, to children’s theater. This kind of diversity allows companies to connect with their communities in more ways, which in turn helps them stay relevant and patronized.”
With the hub of the nation’s vocal scene over 2,500 miles away in New York City, how do San Francisco singers deal with the realities of geography?
“Being on the West Coast has always been an issue for singers, because, like it or not, New York City remains the heart of the music scene.” Greenawald says. “If one is seriously ambitious, one will eventually have to take on the auditions in New York City, probably, so [the West Coast is] not necessarily a place to escape.”
Such details are not much of a deterrent to those who have fallen for San Francisco’s charms.
“I have an agent in New York who is cool with me living in the Bay Area, and I go to New York a few weeks out of the year for auditions,” explains Trevino. “Jet Blue flies out of Oakland to New York and is the best!”
Any other warnings for potential new kids on the block?
“It’s really expensive to live out here,” Harrell warns. “Be prepared.”
Other San Franciscans shared similar thoughts. “It is not cheap, so be sure you are ready for that reality,” says Trevino. “There are many outlying areas in the city that are less expensive, but only by West Coast standards.”
San Francisco is one of the nation’s most expensive cities, especially in terms of rent and real estate. High demand and limited availability have pushed prices through the roof, with studio apartments going for as much as $2,000 a month.
Such costs do not make the dream of living in this quasi-paradise unattainable. They simply emphasize the need to arrive with a game plan.
“Search the Web and all other opera resources for the Bay Area opera companies. Call them up! Most are very accessible,” says Trevino. “Tell them you are moving to the area and would love to introduce yourself. Call San Francisco Opera or the Conservatory and ask for recommendations of coaches and teachers in the area. That can be a priceless way to get connected.”
“Try to connect with people who work either at the Conservatory or the Opera so you can get advice from actual local professionals rather than a chat room,” adds Harrell.
Greenawald also emphasizes preparation. “Have you got a voice teacher in mind? Do you know which coaches are working there at the top niveau? Are you ready for high rent?”
The enthusiasm with which our correspondents tout their city can only mean that it’s worth it. Harrell puts it succinctly: “It is a great artistic community and a beautiful place to spend time. New York is still the most important operatic point of departure in the States. I believe San Francisco runs an easy second.”
