Tuition costs, performing opportunities, and quality training are all factors to consider when contemplating higher-education school choices. A master’s program at the University of Tennessee, which includes an opera residency with Knoxville Opera, is scoring high marks in all of these areas. Find out more about this unique program from a recent grad.
I first learned about the Knoxville Opera Studio four years ago. For my first audition trip to New York, my sister (mentor and singer) told me I needed headshots, a plane ticket, and a subscription to Classical Singer magazine. While searching the CS auditions website for possible auditions during the second week of December, I found an ad for the Knoxville Opera Studio, a two-year Young Artist Program with Knoxville Opera, offered in conjunction with a master’s degree from the University of Tennessee. I had been planning on graduate school, but hadn’t begun my search. Knoxville Opera just happened to be holding auditions the week I planned to be in New York.
In all, I landed eight auditions; Knoxville Opera was last. As a 25-year-old senior from Idaho State University, I was allowed one aria in every audition before I heard “next”—except for Knoxville. I sang a Mozart aria, and they asked for “Ain’t it a pretty night.” I was elated! This was the first professional company to ask me for a second aria—what a confidence booster after an intimidating week. The two men sitting at the desk were talking, so I turned to the pianist and asked if we should wait for them to finish before starting, thinking they would like to have all eyes on me as I sang this heart-wrenching aria. She smiled, and told me we should just start, so we did.
After my second aria, Maestro Frank Graffeo and vocal coach Dr. Christy Lee talked to me for more than 15 minutes. (I later learned they interview all singers, looking for specific personalities, along with talent.) They told me their program is intense: five operas a year, along with course work and song recitals. In Knoxville Opera’s three productions, studio members cover primary roles and sing comprimario roles. The University of Tennessee’s two opera productions double-cast graduate students in all roles.
The program places a high emphasis on class work, with a “B” average required for graduation. Curious about my chances of getting in, I found out there were eight positions open (10 total in the studio), and when I asked about the possibility of my baritone husband also coming, they told me they were looking for a Figaro for their upcoming production of The Barber of Seville, and would love to hear him. Dr. Lee said three of the teachers on staff also were married to singers, and that UT is a marriage-friendly place.
I was sold before I left the building. Slightly giddy, during the taxi ride back to my sister’s apartment I prayed for this to work out.
When we flew to Knoxville for my husband’s audition, we found more perks: Knoxville Studio spots cover full tuition (minus about $600 in fees), full health insurance, and a living stipend of $340-$440 a month. The Rossini Festival, held every spring, is another benefit unique to UT, where Knoxville puts on a massive Italian street fair, accompanied by two Italian operas in one weekend. The second of these operas is produced entirely with UT student singers and orchestra members, though billed as a main-stage production for Knoxville Opera.
The students were gracious during our visit. They spoke highly of the benefits of constant performing, along with fine instruction from their teachers and the opera director. I asked a girl taking costume measurements in the hallway who her teacher was, and she said, “Marjorie Bennett Stephens; she is wonderful for sopranos.”
I took her word for it and decided that if they chose us, I would study with Marjorie Bennett Stephens. Several students accompanied us to a fine southern diner, and UT became my first choice.
The day we got the phone call from Andrew Wentzel, who invited us both to participate in the Knoxville Opera Studio, was one of the greatest days of my life. This fine program wanted to pay us to attend, to learn, to perform, and to receive advanced degrees. After seeing so many friends struggle with thousands of dollars in student loans, I was thrilled at this amazing opportunity.
Now, one year after graduating with my master’s in music, I can honestly say UT was the best decision for my career. I got two years of extraordinary training in Marjorie Bennett Stephen’s voice studio. I put seven roles on my résumé, and I gained confidence in role preparation and auditioning, thanks to Carroll Freeman’s exceptional Performance Techniques class and direction in UT operas. I bettered my Italian by singing three operas in the language. I won several competitions in the area, found a manager, and landed full-time work as a Young Artist for the Shreveport Opera Company. My gratitude lies forever with my dear friends and mentors at the University of Tennessee.
Opera companies worldwide struggle with funding, and Knoxville Opera is no exception. The Knoxville Opera Studio has undergone some financial problems in the last year, which eliminated one scholarship position and one main-stage opera for the KO season. Singers looking at the University of Tennessee for graduate school can expect the following:
The Knoxville Opera Studio offers nine full scholarships, with possibly a few spots in name only.
In the 2006/2007 season, Knoxville Opera’s plans include two main-stage operas and a Mozart concert.
UT grants covers and comprimario roles to UT graduate students after auditions with Carroll Freeman, director of UT Opera Theatre, and Maestro Brian Salesky. The maestro offers musical coachings for all Knoxville Opera roles and covers.
UT will continue doing two full-scale operas of its own with the UT symphony orchestra, conducted by Maestro James Fellenbaum. Fellenbaum plays an active part in the preparation and success of UT singers.
Knoxville Opera Studio members handle outreach.
All graduate students get weekly coachings from resident coach Bethany Parkhurst, along with coachings from a highly visible guest coach, such as Benton Hess, in a two-week residency.
Freeman hosts a Performance Techniques class every semester, ranging from individual arias and audition techniques to role preparation and performance.
Stephens teaches an intensive, yearlong pedagogy class. The second year she teaches a Vocal Literature seminar, ranging from oratorio to Russian, Scandinavian, and Spanish repertoire.
The final graduation requirements involve a recital paper, a graduate recital, and comprehensive exams (three papers written in a week’s time on topics presented by a committee).
UT will be building a multi-million-dollar music building in the near future.
The small music school offers a sense of community. The week before school starts is a week of bonding, with masterclasses during the day and parties every night in the homes of teachers and students. The four main voice teachers give lessons so students can sample various techniques before they choose a teacher. All interested singers get help finding church jobs. Every new student has help moving in, possibly just one of the many charms of the South. So was a willing and helpful tenor, Josh Phelps. Teachers and students spend time as close friends outside of school, in restaurants, and especially cheering on the famous football team. Go Vols!
Because of the strong relationship with Knoxville Opera, several students have been drawn to UT, even without a scholarship.
“I have thoroughly enjoyed every production with Knoxville Opera, as it has given me the opportunity to work with incredible seasoned singers, stage directors, and conductors,” said singer Sarah Kennedy. “The hands-on involvement in a professional company offers the greatest education in preparing a Young Artist for the stage.
“Like any school, UT is not perfect. While students are accepted at every level, I think you really need to be a powerhouse if you expect to get a lot of experience. The competition is tough.”
With nine studio spots, the school usually admits between 17 and 28 graduate students. The opportunity to compete for main-stage roles and two double-cast operas a year at UT draws a lot of interest, regardless of scholarship availability.
A key strength for UT lies in the high-caliber of its voice faculty. (“Choose your grad school for your teacher,” it is often said.) The voice faculty consists of soprano Marjorie Bennett Stephens, soprano Sarah Searle, mezzo-soprano Lorraine DiSimone, tenor Andrew Skoog, and bass-baritone Andrew Wentzel. All have had major careers in the United States and Europe, and each, in turn, brings his or her own unique style to the studio. Their differing personalities and teaching strategies allow students a chance to choose the best fit for them, and that is something very special.
I recently listened to a young singer, and realized just how much I learned in graduate school. Every thought I had, be it technique, style, language, or acting, came from various experiences at UT. I feel honored to represent this fine program in Classical Singer, and highly
recommend it for its superior teaching and opera productions.
