Editor’s Note: The following two letters are representative of several received in response to a singer’s one negative comment in the January 2004 issue on her experience at Shaker Mountain. (p. 90)
Dear Editor: I am writing to you in response to the January “Summer Programs Evaluated” article, particularly the section on the Shaker Mouton Performing Arts Festival. I have been connected to several programs discussed in that article and also participated at the Shaker Mountain Performing Arts Festival for the past two years, so I could appreciate or not agree with some of the comments that were made about Shaker Mountain. I feel that this letter was written by a more inexperienced singer, and I would like to give you my input on the program, even though it may come late.
The Shaker Mountain program is indeed intensive. It deals with many productions in a very short period of time, which is exactly why the mail we received before our arrival demanded in writing the memorization and preparation of all our assigned roles. The board did not mention preparation lightly; they knew what they were talking about. The roles—which I believe to be a wonderful opportunity—were indeed about three per person, but we had the time and chance to call and drop what we thought was beyond our capabilities.
I firmly believe, therefore, that the singers who might have complained about the amount of music, were not prepared for the level of professionalism expected at Shaker—which is the guarantee of success for a program of its caliber. We were told in advance of our roles and the spelled-out expectation on memorization and preparation. We were told that the amount of rehearsal was considerable—and I would hope that would be the case with all programs that have a lot to offer—so there were no surprises.
The writer of the letter you published in the magazine was right to say that sometimes the rehearsals overlapped (it would be impossible for them not to have), but there were always solutions, and the directors were there to be approached for one-on-one sessions, if necessary. It is also true that the lines of communication between the conductors, directors and singers were wide open and when scheduling conflicts came up, I (for one) talked to those running the rehearsals and always was able to work out some kind of solution (i.e., rehearsing a scene my character was not in, while I was in the other rehearsal).
It was not an easy situation, but it was possible to deal with, IF the singer was prepared well. I took it as a personal and professional challenge, and managed successfully to satisfy those tasks that were assigned to me. I was memorized, prepared, coached, vocally ready—and I believe that this is the only way for one to respond to this kind of a program, filled with orchestral productions, constant rehearsals, master classes, coachings and lectures.
I believe there are many programs out there that help singers learn about how to study, how to prepare, and what is expected of them when they perform. It is possible that some singers believe they will be guided gently towards that at Shaker Mountain, but that is not the case. Here, the everyday life of professional performing is present. At times one might get sick, one might feel vocally tired, one might feel they need help with a specific scene, etc.—and there were people the singers could talk with and learn about how to deal with that.
In the end, the show must go on, and let preparation and focus speak for themselves. I always thought that a program like this is unusual, coming along equipped with an orchestra, with qualified and talented conductors and directors, a packed schedule of performances. What a blessing to have to work a lot and be challenged!
But I must mention again the fact that if one is not ready to work, not prepared enough, they might feel overwhelmed and not able to sing well, not be able to think, be creative or take charge on stage. Preparation (which creates flexibility) in the face of a program like Shaker Mountain is the basic requirement. This letter turned out to be lengthy, but there is no shorter way to talk about the issues brought by the letter that was chosen to be published.
I am very proud to have been associated with Shaker Mountain. I respect and support the level of professionalism. I believe in those who run it, and absolutely loved and appreciated the experience.
—Aurora Micu, via e-mail
Dear Editor: I am writing in response to the article on Pay to Sing Summer Festivals.
We had 73 students at Shaker Mountain Opera this summer. We have a very distinguished faculty numbering 17, and have a rehearsal period of 11-14 days for every production that we do. Each production has its own rehearsal pianist, director, conductor, and production staff. Last year our leading roles were taken by artists from Zurich Opera, Royal Norwegian Opera, Munich Opera, Washington Opera, Rome Opera, Metropolitan Opera, and New York City Opera, and very talented emerging artists.
We have major conductors presiding over the Albany Symphony Orchestra (it is the only program of its kind in the country).Our faculty is second to none in the world (like you say in your introduction, read the bios). We have reviews from all the major local newspapers, and from online reviewers—and have received excellent reviews for the past three years that all refer to our “slick productions, well prepared, and beautifully sung” (and all can be sent for your corroboration).
Yes, out of 73 singers of the quality that I mentioned, there are the ones who are intimidated. And if they have been given, as your article claims, three roles, those roles would have been secondary roles, and negotiated with the individual long before he or she arrives at Shaker. Sometimes we err on the side of believing what the individual’s capabilities and work ethic are, but we do have seven coach/pianists on our faculty for that reason.
Having the Albany Symphony Orchestra playing all our productions, we are in the need of a professional ethic and proper preparation. This is a concept that eludes some, and causes a huge conflict in their self-awareness. Shaker is not for the faint of heart, but for very serious artists who are in search of their place in the professional music world. For the past three seasons, we have had one-third of our participants return, some for all three seasons.
—Denes Striny
Director
Dear Editor: As a singer, I have attended opera performances regularly and am both amused and bemused to observe discrimination [against both obese singers and singers of other races] but when it comes to age-appropriate looks and casting, opera companies often follow film casting rather than casting regarding the voice. I see young attractive singers with too-light or immature voices singing roles meant for spinto or dramatic voices. Fine for the theatre, but opera is VOICE first, theater second.
—Name Witheld, PA
Dear Editor: Happy New Year to Classical Singer. I’ve been a longtime subscriber to Classical Singer and have enjoyed how this magazine has evolved over the years to become an excellent resource for singers. I think the articles and information you have provided… are invaluable. For myself and I’m sure for many others as well, Classical Singer has helped to “take the blinders of” certain issues that need to be discussed and investigated. Keep pushing the envelope!! There really is no set formula for success. It’s an individual journey that demands a lot of courage, and Classical Singer provides support along the way.
— Name Witheld, via e-mail
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— Joelle Coleman, Nashua, NH
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