May 2015 • Classical Singer Convention Program The Future of Opera Audition 101 for Opera Singers convention Chicago, May 21-24 Schedule and Details Inside U.S.A. $6.50 • Can $8.70 Top: Brian Jagde and Richard Ollarsaba as Cavaradossi and Angelotti in Lyric Opera of Chicago’s production of Tosca, 2015 Bottom: Norman Garrett and Hlengiwe Mkhwanazi as Jake and Clara in Lyric Opera of Chicago’s Porgy and Bess, 2014 photo by Todd Rosenberg The Future photo by Todd Rosenberg of Opera BY MEGAN GLOSS Chicago is not only home to one of the top opera houses in the U.S., but that opera house also hosts one of the best Young Artist Programs in the country. Several of the 15 fortunate young artists currently participating in the program, along with the faculty and staff who provide their training and support, share with readers this month what makes this program so truly remarkable. The Patrick G. and Shirley W. Ryan Opera Center at the Lyric Opera of Chicago is much more than just a training ground for the classical singing stars of tomorrow. 26 Classical Singer / May 2015 The Future of Opera Amanda Majeski and Daveda Karanas as Marta and Liese in Lyric Opera of Chicago’s production of The Passenger, 2015 ichard Ollarsaba dreams of making his mark on the world of opera. R A bass-baritone with an ever- growing list of impressive accomplishments under his belt—including leading roles with Opera Cleveland, Tulsa Opera, and Minnesota Opera—the 27-year-old is honing his craft by working alongside the most established professionals in the industry as a member of one of the most elite training grounds in the country: The Patrick G. and Shirley W. Ryan Opera Center at the world-renowned Lyric Opera of Chicago. For four decades, the prestigious program located in the heart of the Windy City has been credited with helping launch the careers of some of opera’s finest singers, while also attracting some of the most promising up-and-coming vocal talent from around the world. Now in his third year as a member of the Ryan Opera Center ensemble, Ollarsaba is poised to make his dream a reality, studying under some of the very best the industry has to offer as well as growing in his artistry alongside other budding young artists in a creatively stimulating and supportive environment. “I consider myself very lucky I entered the Ryan Center when I did,” Ollarsaba says. “The group of singers I’ve been able to call my peers are some of the most talented young singers I’ve ever seen. We’re able to challenge and inspire each other to work even harder than we already do, all the while being incredibly supportive. Everyone has their own trajectory on what they all want to accomplish in the short term, but we all share the same passion for singing and performing that hopefully will have the same end result so we can be performing together for the rest of our careers. “Along with what’s given to us through the Ryan Center, I feel even more of our education comes from each other. Where one singer’s strength is another singer’s current project, we all subliminally create an atmosphere that drives us to be better in all facets.” About the Program Celebrating its 40th anniversary, the Patrick G. and Shirley W. Ryan Opera Center was established in 1974 as the professional artist development program for the Lyric Opera of Chicago. Since then, it has been recognized photo byMichael Brosolow www.classicalsinger.com 27 The Future of Opera Andriana Chuchman and Mariusz Kwiecień as Zerlina and the title role in Lyric Opera of Chicago’s production of Don Giovanni, 2014 worldwide as one of the finest programs of its kind, giving the most seasoned and promising young performers a diverse offering of high-level training and experience that is unparalleled. The aim is to fine-tune the skills necessary for these aspiring young artists to both launch and sustain a professional career. The program assists them not only with advanced vocal training, language work, dramatic courses, and performance experience, but it also prides itself on prepping the singers for auditions beyond their time at the Ryan Opera Center, for both opera companies and management representation. At the helm of the program is Director Dan Novak, Music Director Craig Terry and—new to the program—Director of Vocal Studies Julia Faulkner. The incomparable soprano Renée Fleming acts as the program’s advisor. “First and foremost, our program wouldn’t be what it is today were we not standing photo by Michael Brosilow (L to R) J’nai Bridges, Julie Miller, and Laura Wilde as the Three Ladies from The Magic Flute and and Logan Neuschaefer as Sam in Lyric Opera of Chicago’s production of The Magic Victrola, 2015 photo by Todd Rosenberg 28 Classical Singer / May 2015 The Future of Opera on some terrific shoulders,” says can be quite a major attraction for singers Singers that are selected for the Novak, who has acted as director of the that are interested in the program.” program begin an intensive, one- program since 2013. “Looking back year residency, which includes on our history, I think an area where we The Audition Process everything from coaching sessions and particularly evolved was stepping up the Each year, the Ryan Opera Center masterclasses to performance and role degree to which we hear auditions. We selects singers from a pool of nearly 500 cover experience in the Lyric Opera hear many auditions at many audition hopeful applicants, beginning with a of Chicago’s mainstage productions sites. We cast a wider net that way.” prescreening process. throughout the season. Singers also Another tremendous advancement in “Technology has made it so easy that participate in Ryan Opera Center the program, Novak says, was enabling we can accept applicants through video,” concerts and recitals. young artists to gain invaluable hands- Novak says. “And we hear every video Singers have the option to audition for on experience by participating in the that is sent. From there, we decide who a second year in the program, and many Lyric Opera of Chicago’s mainstage will be granted a live audition. We’ll remain for a third year. productions. also do some traveling to hear singers at Each opportunity in the program But the program takes onstage summer programs in St. Louis and Santa holds fast to giving high-level singers experience even further than that. Fe—places like that. We, of course, are the training and tools they need to get “In addition to attracting terrific looking for singers of a certain level— to the next level of both their artistic and young artists to the program, we offer young artists we can enhance in their professional development. the opportunity for singers not only to development when they come to us.” “I think the thing we work very hard take part in mainstage productions but Throughout the next six months, to do is provide opportunities for these to understudy major roles,” Novak says. the audition panel will hear singers live singers that lead to successful careers,” “On occasion, they’ve been asked to step in a variety of locations, with the final Novak says. in for them at the performance level. It auditions taking place in Chicago. CELEBRATING AN INTENSE TWO WEEK PROGRAM WITH DYNAMIC OPERA PROFESSIONALS 13 YEARS CONTEMPORARY AMERICAN SINGERS’ COMMERCIAL MUSIC OPERA PROJECTINC. Vocal Pedagogy Institute 2015 OF NORTH CAROLINA July 18–26 FOUNDED BY NANCY STOKES-MILNES Somatic Voicework™ – The HANSEL & GRETEL LoVetri Method (Level I, II, III) Sung in English with Chamber Orchestra Additional courses offered: May 30 to June 14 • Treatment of the Injured Singer with Dr. Wendy LeBorgne • The Body Sings: Deepening the Somatic with Suzan Postel “INTRO TO OPERA” • The CCM Choral Singer with Edward Reisert High School Program All courses are $390 and earn one graduate credit. Maximum Enrollment of 10 Application deadline: May 15, 2015 June 6 to June 14 CONTACT US TO SIGN UP: 540-665-4556 | [email protected] | ccminstitute.com BARBARA DEMAIO CAPRILLI FOR MORE INFO For information: ARTISTIC DIRECTOR : Call 540-665-4600 RICHARD HEARD E-mail: [email protected] asop-inc.org www.su.edu/tvpc EXECUTIVE DIRECTOR Shenandoah University is an Equal Opportunity Educational Institution/Employer. www.classicalsinger.com 29 The Future of Opera Gaining Invaluable Experience Amber Wagner as Leonora in Lyric Opera of Chicago’s production of Il trovatore, 2014 Day-to-day activities vary for the singers, from rehearsals and performances to music and language coachings; courses in movement, dance, acting, and improvisation; and masterclasses with acclaimed instructors and artists. One instructor the singers work with regularly is Faulkner, a soprano with an impressive performance résumé in her own right. She joined the Ryan Opera Center as its director of vocal studies from a lengthy tenure as a voice instructor at the University of Wisconsin–Madison. Two of her former students—Emily Birsan and James Kryshak—participated in the Ryan Opera Center. “It’s very gratifying when your students can get you a job,” Faulkner says. “I wear two hats in the program. There is the voice teacher component as well as the advising component of helping singers find the right teacher, which is a really important thing. I also give advice on vocal health.” Additionally, she assists the singers with repertoire choices and works with them on how they might be perceived in auditions. Offering counsel is a valuable piece of the puzzle.