Six hundred and twenty-five students from 41 states and 38 countries. That’s how many students took part in 2010’s Aspen Music Festival, an institution that has earned a prestigious and coveted reputation throughout the world as a place for aspiring young musicians hungry to feed their musical knowledge and hone their professional skills in breathtaking and inspiriting surroundings.
Known for drawing some of the finest in emerging instrumentalists, the Aspen Music Festival also holds a special place for many of today’s shining, young opera talents through the Aspen Opera Theater Center. The program not only offers singers a plethora of performance opportunities, but also provides them with rare, one-on-one training under the careful guidance of some of the best and brightest in the business, fostering students’ musical abilities toward professional growth.
“Students in the Aspen Opera Theater Center participate in three fully staged operas, weekly opera scenes masterclasses, voice masterclasses, chamber music, acting and movement classes, as well as private lessons,” says Joan Gordon, the vice president and dean at the festival and school. “Our singers are inspired and encouraged to move to the next level of performance and in their careers. They have the best of both worlds in that they have the opportunity to hone their skills both privately—in one-on-one lessons with our voice faculty—and publicly, on stage, in performance and masterclasses. Both kinds of learning are enormously helpful to singers who are just launching their careers.”
A Brief History
The Aspen Music Festival has made creativity and education its primary focus since its inception in 1949. The festival was born when Chicago natives Elizabeth and Walter Paepcke launched a two-week celebration, bringing together noted individuals for lectures, symposia, and concerts. Uniting the worlds of thought and art with the inspiration of natural beauty, the event has since avalanched into an eight-week summer festival of more than 320 events for students to embark upon, including orchestra concerts, chamber music, contemporary music, masterclasses, lectures, children’s programs, and opera.
Location, Location, Location
In the majesty of Colorado’s Rocky Mountains amid the evergreens, workshops and concerts at the Aspen Music Festival are housed in such facilities as the 2,050-seat Benedict Music Tent, the restored Victorian Wheeler Opera House, and Harris Concert Hall as well as in churches, homes, and other halls throughout scenic Aspen. And, when students aren’t busy putting their evolving knowledge and skills to work in performance and other outlets, they can refill their creative juices by enjoying a hike through the mountains, dining at one of the area’s popular restaurants, or soaking up all that this naturesque spot has to offer.
Opportunities for Singers
The Aspen Opera Theater Center offers singers an assortment of performance experiences, including three fully staged productions in the Wheeler Opera House, with distinguished conductors, stage directors, coaches, and composers possessing various connections in the opera world. “For many years, we have chosen operas that mix classicworks with new works,” said Edward Berkeley, director of the Aspen Opera Theater Center. “In the past few years, we have shifted more to a ‘themed idea.’ For example, last summer [2010], we did a Beaumarchais Trilogy—The Barber of Seville, The Marriage of Figaro, and The Ghosts of Versailles. This coming summer [2011], we will present works centered on Shakespeare in support of the festival’s ‘Music Inspired by Art’ theme: A Midsummer Night’s Dream, Falstaff, and West Side Story.
All singers are expected to participate in one opera chorus and to provide technical support for the productions. Singers also can participate in two orchestral scenes classes and house concerts, in addition to participating in music, acting, song repertory, diction and movement classes, rehearsals, Alexander Technique sessions, meditation, auditioning and professional-orientation workshops, individual music and dramatic coachings, weekly voice lessons, and vocal masterclasses taught by resident artist-faculty and guest artists. Singers also are invited to participate in a series of song recitals.
Do You Have What It Takes?
According to Berkeley, the Aspen Opera Theater Center seeks applying singers with unique vocal talent. “The individual who strives to communicate music through their voice and body, taking people on journeys,” he expounds. “We have no age limits. Singers range from late teens to [early] 30s. It depends on basic talent and whether the Aspen Opera Theater Center’s performance-oriented program is right for that singer. Performance experience is key, whether principal roles or chorus with orchestra
or staged scenes work in masterclasses. Aspen has a national audience with both lay and professional in the audience, many of whom have connections to the opera world.”
Berkeley says the program aims to challenge singers and expand their professional potential. He is overwhelmed with pride at seeing the growth singers possess throughout the festival and how well the program prepares them for their professional performance journeys.
“I love when a singer does something unexpected and inspiring, in that moment, alive with music and passion,” he says.
Gordon adds that she too finds personal reward in singers’ achievements at the festival. “Watching our students mature and improve over the summer and over the years—the energy is amazing,” she says.
How to Apply
Singers interested in applying for the Aspen Music Festival’s Opera Theater program can fill out an application for a fee and schedule a live audition. Submitted items must include a completed application and financial assistance requests, application fee, the singer’s three choices from the voice faculty, and three copies of a CD consisting of two arias in contrasting styles (one English, one Italian) for studio placement. Students are also encouraged to submit two letters of recommendation.
An accompanist will be provided. If trying out for a role from one of Aspen Opera Theater Center’s summer productions, singers are expected to perform an aria from that role in addition to presenting his or her two contrasting arias. Singers also need to prepare a one-minute monologue and provide an 8×10 glossy headshot and professional résumé.
To find out what recent participants are saying, I spoke with four singers about their Aspen experiences.
Golda Schultz, Summer 2010
Activities: The public masterclass with Maestro James Conlon. I also was involved in two Saturday scenes masterclasses with Berkeley. One scene was with orchestra, under the guidance of Maestro Robert Spano, which was fantastic. I was also a part of The Ghosts of Versailles as Rosina – we worked with Berkeley as our director and Maestro Michael Christie. Then, there were house concerts which we performed in homes around Aspen.
Program benefits: This was a summer of working on my abilities as a dramatist. What was nice about Aspen was the focus on becoming better acting singers. What I found best were the chances we had to perform in front of an audience, because that helped me to better understand my relationship to my audience.
Program challenges: Having no distractions when it comes to your music can sometimes be tough. Being at Aspen made me sit down and really clarify what I needed to fix about my singing. Sometimes it wasn’t fun, and it wasn’t always easy. But, I feel I came out a more competent musician and musical colleague to those I meet on my path as a performer.
Favorite parts of the program: The various personalities that make up the festival are wonderful. Working with people I might not meet at my school opened my eyes to new opportunities. Working with the conductors and coaches was amazing, too. To be in such an environment makes you love your craft even more, because there are no distractions—just you and the music.
Would you recommend this program to other singers? If you are looking for a place where there are chances for you to work on what you need to work on, without distraction, this is the program for you. If you want to become better, this is the place to consider. If you want to meet new people who will become part of your life, this is the place to do it.
How should singers prepare? Ask yourself, very seriously, what you want to achieve. It won’t work for you unless you are driven to get things done. There are a ton of performance chances, but it’s up to you to take them when they come. For the audition, choose songs you love to sing. Auditions aren’t always about showing how well you sing, but about the panel getting a sense of who you are. Show them something interesting. Show them you.
Accomplishments since the program: I am in my final year of graduate studies at Juilliard. And I am auditioning for various Young Artist Programs around the United States and Europe.
Samuel Schultz, 2007-2010
Activities: I sang Junius in Britten’s The Rape of Lucretia, Ufficiale in Rossini’s Il barbiere di Siviglia, and covered Le Roi in Massenet’s Cendrillon. Scenes work included Carmen (Escamillo), Les contes d’Hoffmann (Dr Miracle), I pagliacci (Silvio), La Cenerentola (Dandini), and A Midsummer Night’s Dream (Demetrius). I sang a Poulenc chamber work in the festival’s chamber music series and in a masterclass for mezzo-soprano Michelle DeYoung, as well as a number of private house concerts.
Program benefits: The program offered me countless opportunities to work with conductors, coaches, and stage directors. I appeared on stage in many productions and became very comfortable settling into roles.
Program challenges: The program challenged my capabilities of learning music (as I had to learn music very quickly at times).
Favorite parts of the program: Two components of the program really stand out. One is the weekly masterclass series, directed by Berkeley. The other is my ability to continue studying with my private lesson teacher who is on faculty at the festival.
Most essential or important thing learned that you will be able to apply in your professional career: Performing a role in Britten’s chamber opera The Rape of Lucretia taught me so much. Working with Maestra Jane Glover was phenomenal, as she taught me how to inform my performance based on the orchestration.
Would you recommend this program to other singers? I recommend this program to singers seeking performance opportunities and the chance to work with coaches, conductors, and stage directors.
How should singers prepare? Practice, practice, practice. There is no substitute for good singing. Accomplishments since the program: In October 2010, I won the Wisconsin District of the Metropolitan Opera National Council Auditions, and I will compete at the Upper Midwest Regional in February. Also in February, I will perform Ramiro in Ravel’s L’heure espagnole and will sing “Don Quichotte à Dulcinée” with the Houston Symphony.
In April, I will debut at Houston Grand Opera, singing the role of Ein Perückenmacher in Ariadne auf Naxos.
Kimberly Sogioka, 2008-2010
Activities: I was involved in the weekly scenes classes and sang in six scenes, as well as a masterclass for Anthony Dean Griffey. I covered the title role in The Rape of Lucretia and sang Susanna in The Ghost of Versailles, as well as attended masterclasses with Michelle DeYoung and Dawn Upshaw and performed various orchestral scenes
and house concerts.
Program benefits: A great thing about working with a living composer is the dialogue that this allows. When a piece is still in progress, you really are a tangible part of its development. The ability to see firsthand how a composer approaches the piece is a priceless learning opportunity that can and should change how you look at any of
your scores.
Program challenges: The Ghost of Versailles can be a very daunting score. It helped that we had Brian DeMaris helping prepare the opera. DeMaris had worked with Maestro Christie on this opera before and he had a good understanding of his pacing and approach. It made the transition smoother when we started rehearsals with the conductor. Berkeley’s direction was amazing. I was afraid that staging the opera would be such a time-consuming ordeal, with so many people and so little space. He found a way to streamline it so that the story stayed central and the chaos was organized. Before we knew it, the opera was staged.
Favorite parts of the program: There is not a more beautiful place to be while focusing on your music—the mountains, rivers, and lakes. You might spend your day off hiking Maroon Bells, checking out the gondola on Aspen Mountain, or lounging by the pool at the Sky Hotel. There are different concerts and masterclasses to choose from. Or, just sit outside Paradise Bakery with ice cream and listen to a chamber ensemble play on the street.
Most essential or important thing learned that you will be able to apply in your professional career: It’s important to take care of yourself since your body is your instrument. It can easily ruin your experience if you are not able to perform the way that you would like to because of illness. For anyone covering, always be prepared, no matter how casual the rehearsal.
Would you recommend this program to other singers? I highly recommend this program to singers who want a supportive atmosphere. How should singers prepare? Come with your music learned. Bring other music—chamber and song literature. There are many spotlight recitals and other events. If you come ready to participate, you will have more to choose from.
Accomplishments since the program: Because of connections made at Aspen, I was recently asked to workshop a small role in a new opera www.classicalsinger.com 41 Where Art and Beauty Collide commissioned by the English National Opera and the Metropolitan Opera that will be premiered in London in 2012.
Oswaldo Iraheta, 2008-2010
Activities: Several operatic scenes as both a baritone and as a tenor. This past summer was particularly meaningful as I was able to sing my first tenor scenes as Nemorino (L’elisir d’amore) and Pinkerton (Madama Butterfly) in one of the summer’s orchestral masterclasses with American Academy of Conducting at Aspen, led by Maestro Robert Spano. Also, I had the opportunity to sing for a function hosted by Beatrice Welters, the U.S. Ambassador to Trinidad and Tobago.
Program benefits: I have been able to find my true voice as a tenor with the help of Vinson Cole. The program has completely changed my life and has better informed me about the essentials required of opera singers.
Program challenges: Making me look deeper within myself to find ways of interpreting repertoire. The program’s stage directors provided thought provoking scenarios about the material.
Favorite parts of the program: The dedicated and experienced faculty in a nurturing environment within the beautiful and peaceful Aspen mountain landscape. Most essential or important thing you learned that you will be able to apply in your professional career: It is of great importance to know one’s true voice. Last summer, I was able to make a healthy transition to tenor from baritone with the guidance of Cole.
Would you recommend this program to other singers? This is a well rounded program that addresses every aspect of the professional world of opera and what is required to be part of it.
How should singers prepare? Regardless of what conservatory program a student may be part of, I think that it’s imperative to do additional work outside the school setting by seriously exploring other languages and learning about the great singers of the past, as well as continuing technical work.
Accomplishments since the program: I have begun my graduate studies at the Cleveland Institute of Music, where I study with Cole. I have been named a finalist for the S. Livingston Mather Competition, with the Singers’ Club of Cleveland. I also have been selected to perform at a gala concert with an orchestra conducted by Marvin Hamlisch at Cleveland’s Severance Hall.
