The audition season has ended and a new year has just begun. Depending on your audition results and where you are in your career development, you may very well find yourself looking towards summer and considering your options. Summer programs—whether you’re between semesters or taking time off work—can offer a variety of wonderful options for continuing your training, adding a complete role to your résumé, exploring a new country, learning a language, and more.
In an effort to help singers gather information about programs, each year Classical Singer surveys participants of summer programs to see how the programs are faring. For the most part, singers report positive experiences and say they feel they are getting their money’s worth.
In reviewing the surveys, I found it very interesting that often two singers would say very different things about the same feature of the same program. For instance, one singer said he enjoyed the 30-minute walk from his host family to the practice facility, while another singer complained about the hardship of the same walk. When speaking of another program, one singer said he enjoyed the intense focus on art song and individual repertoire without the distraction of a scenes program. Another singer hoped the same program would one day add a scenes concert, feeling it would greatly enhance the program.
As you evaluate summer programs it is critical that you first determine what you’re looking for in a program. As you research to determine if a certain program meets your expectations, ask a variety of sources about the program. Not all programs are created equal, and not every program—regardless of its quality—is a match for every singer.
To help you begin your research (key word begin!), we’ve included excerpts below from surveys evaluating programs from the summer of 2007. If we fail to mention a program, it is because we received no comments regarding the program, or we feature a full article on the program in this issue. Survey respondents’ names have been omitted.
To view the full surveys, please visit the Classical Singer forum at
www.classialsinger.com (click “summer program” under “forum” in the left-hand menu). For detailed information about program location, tuition, dates, classes, and more, see the summer program listings on page 84.
Amalfi Coast Music Festival
(one respondent)
“To get some more stage experience, experience singing with an orchestra, and to learn a complete role,” are the reasons this singer says she attended the Amalfi Coast Music Festival. Did she gain that from the program? She answered with a resounding “yes.” Few places rival the beauty of Italy’s Amalfi Coast, and participants in this program stay at a small hotel right on the sea. Performances with orchestra take place at various venues in the area (some more charming than others). Voice lessons, coachings, Italian language classes, and staging rehearsals make up singers’ daily schedules. Our respondent reported that the faculty varied somewhat in quality, but for the most part was excellent.
American Singers’ Opera Project
(five respondents)
This long-time program found a new venue this year, moving its headquarters from New York City to Greensboro, N.C. At $800 for tuition, which includes food and housing for a one-week program, the cost is reasonable. Singers stay in dorms, two to a room with a private bathroom. Singers can opt to stay off campus and pay reduced tuition. One singer who chose to do so wished she hadn’t—the extra travel made it difficult to attend everything she wanted to attend.
The program doesn’t include private coachings or lessons, and consists mainly of morning and afternoon staging rehearsals, and masterclasses and information sessions in the evenings. All respondents raved about the evening masterclasses with program co-director Nancy Stokes-Milnes and the 30-minute exit interview with Stokes-Milnes at the end of the program.
BASOTI
(one respondent)
Singers in San Francisco’s Bay Area Summer Opera Theater Institute work for about six weeks to prepare one complete opera and additional scenes. The one BASOTI singer who responded to the survey reported excellent camaraderie among singers, and overall a nice and professional staff (with one exception). This singer felt she got her money’s worth, but she also advised program administrators to work for a better organization.
Barcelona Festival of Song
(four respondents)
If you want to delve into Spanish art song and zarzuela, you might consider this 10-day program in Barcelona. Participants raved about diction classes in Catalán, Spanish, and Portuguese. Nightly concerts were also favorites of participants, as well as the culminating two recitals in which participants sang. With less than 10 singers in the program, individual attention abounded. Practice facilities were 30 minutes walking distance from living quarters, a 15-minute train ride, or a 7-minute taxi ride, and while some singers said it was too far, others said it was very convenient. All respondents would have liked more practice space. All agreed that they definitely got their money’s worth.
Bel Canto Institute
(six respondents)
True to its name, the Bel Canto Institute, located in Florence, provides singers two months in Italy to delve into the Bel Canto repertoire and accompanying stylistic elements. Participants stay with host families in the area, which provides a unique opportunity to practice your Italian. La Scuola Leonardo Da Vinci provides Italian classes and singers receive a certificate of completion at the end of the program. Singers also receive three coachings and three voice lessons per week during the last two weeks of the program. The program has both a youth division for high school-aged singers
and an adult division for singers ages 18 and up.
Bethesda Summer Music Program
(two respondents)
Located in Bethesda, Md. just 30 minutes from Washington, D.C., this program is unique in that it includes participants ages 6 to adults. Repertoire includes a combination of musical theatre and operatic works (scenes). Masterclasses and rehearsals are in the late afternoon and evening, and all classes, stagings, and performances are in a local church. Both respondents reported a good experience for their money. One singer hopes that as the program continues to grow, program directors can hire additional staff, which will help the overall organization of the program.
CoOPERAtive Training Program
(two respondents)
Located at Westminster Choir College in Princeton, N.J., this program continues to receive great reviews from singers. Its intensive three-week schedule includes private coachings, business seminars, makeup seminars, acting classes, yoga instruction, language coachings, and masterclasses. Both respondents reported a well organized program with the right amount of free time to rest, practice, and process. Participants also gave kudos to the faculty and staff.
Elysium Between Two Continents
(two respondents)
Only five select singers attended this two-week program in Bernried, Germany. The first half of the program was dedicated to the art songs of Felix Mendelssohn, and the second half to opera scenes of Mendelssohn and his contemporaries. With just three sopranos, a mezzo, and tenor attending, individual attention abounded, as well as performing opportunities. The program consists primarily of coachings and staging rehearsals. No language training, other than German diction, is provided. Singers enjoy scheduled meditation time in the morning and evening each day.
Flagstaff in Fidenza
(one respondent)
This brand new program in Italy got good reviews for its inaugural year. The program is located in Fidenza, a small town that provides a real taste of Italian daily life but is just a train stop away from more touristy attractions. Our respondent raved about the quality of the coaches and program faculty, and about the opportunity to add a role to her résumé.
The quality of food and housing was sufficient. When the air conditioning at the local hotel went out, our respondent said that hotel staff worked hard to make guests as comfortable as possible while resolving the problem. In addition to a complete opera, participants also had the opportunity to sing recitals, concerts, and oratorio in local churches.
Harrower Opera Program
(one respondent)
The state of Georgia sponsors this Atlanta program. As a result, Georgia residents can receive financial aid for attending. The program puts on a scenes program in addition to a full opera. Our respondent gave high marks to the coaching staff and faculty, and said she definitely felt she got her money’s worth. Participants are expected to lend a hand with backstage crew duties, including painting and striking the set.
Hawaii Performing Arts Festival
(one respondent)
Located on the Big Island in beautiful Hawaii, this program never falls short on surrounding beauty or amazing outside activities. Just two years old, the program still has some kinks to work out (not enough rehearsal time and too many performances), but program administrators continue to bring in exciting names. The 2007 season offered singers the chance to work with living composer Ricky Ian Gordon. The festival also offers programs tailored to various age groups, including high schoolers, college-age singers, and the “mature” singer (see page 38).
Intermezzo
(two respondents)
This rural California program gives singers the opportunity to perform complete roles in four different operas. Participants raved about the quality of attending faculty, saying that coaches, conductors, and stage directors were all excellent. They felt they definitely got their money’s worth out of this program. The primary reason for attending was to add a role to a résumé. Participants reported some problems with backstage staff (high-school-aged volunteers) and said that housing wasn’t ideal—three people to a room and as many as six people sharing one bathroom.
International Vocal Arts Institute
(five respondents)
With three locations—in Montreal, Puerto Rico, and Israel—IVAI continues to garner good reviews from singers. Working with director Joan Dornemann and faculty member and voice teacher Ruth Falcon were highlights for participants in 2007. Participants also enjoyed the opportunity to prepare full roles and scenes productions and receive coachings and voice lessons. One participant at the Montreal location complained about unsafe performing facilities, and another participant in Tel Aviv said he hoped the program would perform more mainstream operas, rather than more obscure repertoire, even if that obscure repertoire is a world premiere.
Johanna Meier Opera Theater Institute
(one respondent)
Not many summer programs claim the Dakotas as home. In fact, this is the only one, located near Mount Rushmore and the Black Hills. The one respondent spoke very highly of the program, saying that her first time with a summer program more than met her expectations. The program consists mainly of rehearsals for the culminating scenes program. In addition to the scenes, the summer 2007 program featured an evening performance of the entire second act of Charpentier’s Louise, and a movement class twice a week.
La Musica Lirica
(one respondent)
“I went into debt to do this program, and I don’t regret it at all,” reported our respondent. “Just being able to study and perform opera in Europe is such an amazing experience. It should not be passed up.” Daily schedules included four hours of Italian language class, an Italian diction class, a short break for lunch, followed by voice lessons, coachings, and rehearsals. Participants performed Puccini’s Suor Angelica in its entirety, a one-act opera by Donizetti, and selected opera scenes.
Memphis Opera and Song Academy
See Page 50 for a full article on this program.
Neil Semer Vocal Institute
(five respondents)
This two-week course in Coesfeld and Aub Germany focuses primarily on intensive work with Neil Semer in masterclass settings each day. In addition, singers receive two private lessons and several coachings each week. The program culminates in four performances. All respondents referred to these two weeks as some of the most challenging, grueling, and yet rewarding weeks of their lives. One singer’s advice summed it up well, “Before I would suggest this program to another singer, I would first ask them if they are comfortable letting someone besides their regular teacher really work with their technique, and then ask if they are willing to deal with some of the more emotional demands of singing, (Neil will undoubtedly figure out what you are afraid of). And if the answer is yes to both, give Neil a call. It’s worth every dime!”
New York Opera Studio at Vassar College
(one respondent)
This program, run by Nico and Carol Castel, continues to garner great reviews from participants. Participants at the 2007 program sang opera scenes in Russian, French, Italian, and German, and had opportunities to coach the languages with diction guru Nico Castel. Cramming classes and scene prep into 10 days makes this program intense, but our respondent said she “thoroughly enjoyed the intense schedule. I learned so much each day.” She also reported great camaraderie among the singers, who continue to keep in touch because of the strong bonds formed at the program.
OperaWorks—for Singers
(three respondents)
Two respondents said they attended OperaWorks because of its great reputation, and from their responses it appears that reputation continues to deliver. Designed to help singers become more centered and focused communicators, the program consists of yoga, Alexander, movement, stage techniques, performance techniques, and improvisation. Voice lessons are not included in the curriculum. Students stay on the Cal-State University of Northridge campus in student dorms that one respondent deemed “adequate.” The dorms were about a half-mile walk from rehearsal facilities, which one singer said she enjoyed—others did not.
OperaWorks—for Teachers
(one respondent)
Nine teachers took part in OperaWorks’ Voice Teachers Workshop that runs concurrently with the singers’ program (see entry above). Our teacher respondent said that she attended the program to learn new ideas and skills in singing and teaching, and to discover ways to use improvisation with her students. She reported that she definitely gleaned that from the course, and felt she got her money’s worth–or her university’s money’s worth, rather. She applied for and received a professional development grant from her university.
Oxenfoord International Summer School
(one respondent)
This program in the port city of St. Andrews, Scotland, runs about $1,400 for one week, including room and board. Our respondent said the highlights of the program were the masterclass with Irish mezzo-soprano Ann Murray and a Scottish dance and party one night of the program. Housing consists of single dorm rooms with one bathroom per hall. Performance opportunities abound with masterclasses, opera scenes, student recitals, and a candlelight concert of oratorio works. Our respondent said the information supplied to participants could have been a little clearer, with more specific instructions of what to expect and how to prepare. All in all she reported a very positive experience.
Princeton Festival
(five respondents)
This two-month festival offers singers the opportunity to sing in a professional opera chorus. The festival engages seasoned professionals for title roles, and pays selected singers for their choral work. All respondents said the program was well run and an excellent opportunity to work side by side with top-notch singers, conductors, and directors. Rehearsals were in the evening for a few hours until the final weeks before opening, and then rehearsal time increased, so it was possible for singers to continue full- or part-time jobs during the program. The festival does not provide food or housing, and is just one hour from New York City and Philadelphia.
Richard Crittenden’s Summer Opera Workshop
(three respondents)
With two-week workshops in both Washington, D.C. and Boston, this program offers two great options at a reasonable price ($525 tuition). Singers are responsible for finding their own housing, although program administrators will work to provide home-stay options for participants at an additional fee. Singers spend two weeks preparing scenes programs performed in two to three performances at the end of the program. Classes on gestures, Feldenkrais, and Alexander Technique are scheduled around scene staging rehearsals. The program has both a high school division and professional division in both cities.
Seagle Music Colony
See full article on page 64.
Spoleto Vocal Arts Symposium
(two respondents)
The two surveys we received for this program said very different things. One singer said she would definitely return to this program and felt she got her money’s worth. The other respondent reported that she wouldn’t return to this program and didn’t feel she got her money’s worth. Even with these differing viewpoints, both agreed on several key points. Both said that the voice teachers and coaches were wonderful, had much to offer singers, and made the program worthwhile. Both also agreed that the program needed three levels of Italian language classes, rather than just two, to benefit all levels of Italian speakers. One singer felt there was two much free time and that program administrators needed to work for better organization within the program.
Tyrolean Opera Program
(two respondents)
This three-week program in the Tyrolean Alps prepares singers for a scenes and recital program, focusing on voice lessons, the German language, and German diction classes. Administrators continue to work on building a community presence and audience for this relatively new program. Participants stay at a local hotel just a block away from where classes are held. Our respondents gave kudos to director Elizabeth Bachman, both for a well-run program and excellent stage direction.
University of Miami at Salzburg
(seven respondents)
One of several summer programs in beautiful Austria, the University of Miami calls Salzburg home each summer. This program places its emphasis on recital repertoire, offering diction classes in French, German, and Italian, and weekly coachings and voice lessons. In addition, three levels of German language classes are available daily. All singers perform on at least two recitals, and all attendees can enter a competition that happens the first week of the program. The winners then give a recital as part of the Salzburg festival.
Participants can stay in student dorms or with host families. All accommodations require taking public transportation to program facilities, but most respondents said this was very convenient. One singer said she wanted more structure and less free time, while another singer said she would have liked more free time to see the surrounding sights. All respondents said they felt they got their money’s worth and thoroughly enjoyed their experience abroad.
Wesley Balk Opera/Music-Theater Institute
(two respondents)
Culminating in a scenes program with all-English repertoire, this program focuses mainly on developing the singer-actor in participants. The program begins each morning with movement classes combining yoga, Alexander Technique, meditation, and more. Small group classes follow, with afternoon scene staging rehearsals wrapping up the day. The program does not provide voice lessons.
