New York City’s subway stations are typically filled with unpleasant noises—screeching trains, screeching people, and distorted PA announcements. But some fortunate commuters encounter beautiful opera singing instead, thanks to an organization called The Opera Collective (TOC).
To learn more about TOC’s history and plans, I spoke with soprano Rachel Hippert, the CEO.
History
According to Hippert, TOC was founded in 2005 by singers who wanted opportunities to sing outside of a practice room. They auditioned for the Metropolitan Transit Authority’s “Music Under New York” (MUNY) program and obtained a permit to perform in subway stations. Supported by recorded accompaniments, the TOC members soon launched a series of concerts, comprising arias and ensembles, in different stations at varying times.
Hippert joined TOC in 2015. Several years later, when the original founders moved out of New York City, Rachel and her boyfriend (now husband), Jose Heredia, took the reins. Shortly thereafter, they incorporated TOC into a limited liability corporation (LLC) and started looking for additional performing opportunities above ground. But the underground concerts continued. As Rachel notes, “There are a lot of small opera companies in this town who have a lot of heart for pounding the pavement, trying to give good music to the city, but few of them can do it for free.” The emphasis on free and easily accessible performances led a new tagline: “The People’s Opera.”
Advertisement
Response
In many cases, the underground concerts introduce commuters to an unfamiliar musical genre. And although TOC members have encountered disruptive commuters, most of the reactions have been positive. “Sometimes it can be a little crazy, but at other times it’s sublime,” Rachel says. “We all have anecdotes.” She recalls a performance after which a little girl came up to her and asked if she had a microphone hidden under her scarf. Soprano and chief administrative officer Alexis Cregger recounted an exceptionally moving experience on Patreon’s Great Big Story.
Some audience members leave tips, and some even hire the singers for gigs. As Rachel says, “It could be anyone walking by. It could be an impresario.” The MTA appreciates TOC also, and has often arranged for TOC to perform at press conferences.
The Pandemic
The pandemic, as you might expect, created major challenges. The MUNY program was suspended. TOC responded by moving online. When the Black Lives Matter protests took place after the murder of George Floyd, the board decided to present a virtual concert of spirituals. Jonathan Green, the chief people officer of TOC, is a member of the American Spiritual Ensemble, and he advised the other members on song selections. “We give music to heal people,” says Rachel. “That’s what music can do, and that’s why we organized this concert.” She reports that the concert was well-received, and that TOC received a few donations from viewers. Several other virtual concerts followed.
Today
Once the MUNY performances started up again, the board started exploring additional venues and initiatives, still with the overarching objective to improve access to classical music. To this end, TOC performed at several elementary schools and established a community partnership with the St. Jean Baptiste church on the Upper East Side. In August TOC presented two performances of Verdi’s Don Carlo in the church’s sanctuary. The performances will be free to attend, although TOC will accept at-will donations.
More events are in the works. TOC is in the process of switching from a limited liability corporation (LLC) to a 501 (c) (3), which will allow the organization to accept a major gift from a patron and produce more concerts above ground. Meanwhile, the board is considering the launch of a podcast and assessing ways to further expand TOC’s online presence.
The subway performances remain a top priority, however. “These will always be a part of TOC,” Rachel says.
Advertisement
How to Get Involved
If you’re inspired by what Rachel describes as a combination of activism and performance experience, then consider auditioning for TOC. Auditions are held annually, but applications are accepted on a rolling basis. For more information, visit the auditions section of TOC’s website.
And if you live in New York, keep your eye out, and ears open, for TOC’s performances in subway stations. Amid the screeching trains, incomprehensible announcements, panhandlers, occasional rats, and suspicious puddles, these singers create beauty and harmony. They are accomplishing the impossible — inspiring even the most jaded, harried New Yorkers to do something they never do: slow down.
