December 22, 2004
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December 20, 2004
At Juilliard, Students Learn That Opera Is Both Craft and Commodity
By BLAIR TINDALL
he Juilliard School in New York City has trained some of the world’s most prominent singers since opening its opera department in 1930, including Leontyne Price, Simon Estes, Renée Fleming and Audra McDonald. The school continues to attract undergraduate and graduate students pursuing specialized music educations.
“By high school I had decided to go into music instead of taking the easy way out, like becoming a dentist or accountant,” said tenor Ross Chitwood, 20, who grew up on a dairy farm in Sulphur, Okla. “When I walked into the lobby of Juilliard, I knew it was the right place for me.”
A typical day for Mr. Chitwood begins at 9:30 a.m. with ear-training class, one of the musical subjects the singers study alongside classmates who are instrumentalists. Other courses include musical dictation, theory, conducting, music history, piano proficiency, and electives that cover specific composers and genres. Vocal arts students must also sign up for two foreign languages.
After lunch, the singers concentrate on theatrical skills in the Juilliard Opera Studies program. Here, they learn acting, movement, improvisation, stagecraft and stage makeup application. They also receive individual coaching for voice and diction to refine their vocal technique. “In drama workshop, we work with masks to create a character without using our faces,” said Rebecca Saslow, a 21-year-old mezzo-soprano from Boston, who praised the training as crucial to her education.
The students say they are energized by New York’s cultural life, and by exposure to world-class faculty and a student body whose musical tastes range from Bach to Beyoncé.
“Juilliard focuses on putting you together as a professional,” said Marquita Raley, 22, a mezzo-soprano. “ They want you to have the language, they want you to have the voice, they want you to have the analytical side.” The singers also study the business side of opera with a performing arts publicist. They learn how to find agents, write resumes and navigate the areas of public relations, audition protocol, professional etiquette, appearance and dress.
“The eventual goal is that we won’t have to be working in a gas station while trying to be singers,” said Ryan McKinny, a 20-year-old bass-baritone. He said he was surprised that so much went into a singing career aside from the music.
After classes end at about 6 p.m., some students go to the practice rooms. Others attend performances at Lincoln Center, Carnegie Hall and at downtown nightclubs. Ms. Raley works during the off-hours teaching children in Juilliard’s precollege division.
The Juilliard vocal program focuses on detailed practice rather than performance. Yet when the students are showcased in the school’s two annual opera productions, the pressure can be intense.
“It’s terrifying that opera greats like James Levine or Beverly Sills could be watching you,” said Patrick Cook, a 19-year-old tenor from Pasadena, Md., who thrives in the school’s demanding environment. “But you could have this incredible performance, and boom, someone’s deciding to launch your career.”
Brent Murray contributed to the reporting of this article.
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