Hi everyone,

Found this great forum a few days ago and have been reading tons of threads and now decided to make one for myself.

I will be completing my B. Mus. in Classical Voice this upcoming year (May 2010) and want to continue onto a MM program in Voice/Opera. I currently go to school in NY but am open to schools pretty much anywhere in the US.

Here are my personal details: I came into my undergrad as a baritone singing improperly. My first year was all about making the transition to a tenor, so I guess I can say I've been a tenor for about two and a half years now. I know it's technically too early to label myself, but...light lyric tenor voice is how I would classify myself.

Overall my technique is pretty good, but I still suffer from some resonance problems (old baritone habits), occasional lack of support and some tension. Hence, I'd love to work with a teacher/in a program where I can still build and solidify technique in addition to all the other aspects of the program.

I'm really only familiar some of the "major conservatories", but not necessarily specifics and/or people, so any info I can get will be much appreciated. Thanks!

P.S. Whether or not this actually matters for any programs, I'm young for my age since I'm a December baby...I'll be turning 21 during my final year of undergrad and I feel like my age is definitely playing a huge role in my vocal maturity and progress

Well, firstly, there are countless thread on exactly this subject, many of them fairly recent, just do a search. In spite of that fact, I had a list of 17 grad schools typed out, with plenty more to go, and then realized: I have no idea what you're looking for, specifically. So, here's a copy/paste from another person's post on "how to choose a grad school." Maybe you can answer a few of these questions to help narrow things down? Here's the quiz:

"Narrow down your criteria:

1. In which part of the US would you like to spend the next 2-3 years of your life? The boonies? A metro area? Where it's cold, where it's warm??
2. What do you want out of your teacher? A good technique? Connections to get jobs? A good 'name' teacher you may only see once a month? A man? A woman? A teacher that is your voice type?
3. How much are you willing to spend? As little as possible? Doesn't matter?
4. What does your undergrad teacher say? What brochures from US universities are floating around the music department? Do any of them look good?
5. How much stage experience would you want? Some schools have dozens of master's students and only do two-three operas a year. Are the casting policies fair at this school? Are there outside performance opportunities?
6. What do you want to focus on? Song rep.? Opera? Possibilities for crossover? Which school has the best coaches/teachers for whichever area you want?
7. How much ensemble are you willing to do? Some? None? How much theory and music history? What kind of off-campus atmosphere are you looking for? Only music? Other fun things to do?
8. How much do you know about the business of singing? Which schools offer classes in that area specifically if you feel you don't know enough.
9. Are you looking for a school which does opera productions in the summer?
10. What are the graduation/degree requirements you are looking for? Do you want a school that offers MM in Voice Performance, Opera Performance, both? Are you willing to do a recital and a thesis with an oral exam at the end? What do you want to know when you are done with your degree?

After you have answered some of these questions, then come back here and ask something like: "can you recommend a state school in the Northern US that has a teacher good for tenors and offers a MM in opera performance?" You're likely to get better answers that way..."

Thanks for providing me with this questionnaire ZippyLongstocking, and sorry for the delayed response. I realize that a million people ask the same question in the same way I did, but as I'm sure you know I'm trying to come up with a general focal point for myself and my head is spinning, so please forgive me! I answered the questions to the best of my ability and am hoping some people will have feedback for me.

Here's a list of some "main" grad schools I had been thinking about, in no particular order. I'd like to get some opinions and find out what should be added or removed from this list, and so on. Thanks!

Curtis (what the hell, worth a shot I guess)
NEC
MSM
AJ Fletcher Institute (N.C. Arts)
Yale
Indiana University


1. In which part of the US would you like to spend the next 2-3 years of your life? The boonies? A metro area? Where it's cold, where it's warm?

As long as it's not absolutely frigid (or on the other end of the spectrum, unbearably hot and dry) then climate doesn't matter to me. I'm a native New Yorker so I'm used to big cities and metro areas but I'm flexible on location.

2. What do you want out of your teacher? A good technique? Connections to get jobs? A good 'name' teacher you may only see once a month? A man? A woman? A teacher that is your voice type?

I want a good technique as well as a teacher who focuses on artistry and interpretation. Ideally I'd like a very well connected teacher who teaches regularly and consistently without having to reschedule every other lesson for a personal gig. The teacher's gender or voice type doesn't really matter to me as long as they've established themselves as a good teacher for a tenor.

3. How much are you willing to spend? As little as possible? Doesn't matter?

It would be wonderful to attend a school that has scholarship money, but for now I'm going to look at all options regardless of cost and then go from there. Same concept I used for undergrad and was lucky enough to get substantial aid.

4. What does your undergrad teacher say? What brochures from US universities are floating around the music department? Do any of them look good?

My undergrad teacher got his MM at Yale, so I'll definitely be looking there an option and hopefully the connection will work in my favor. Soon we are going to have a sit down talk and come up with a list of schools based on his knowledge, my preferences, etc.

5. How much stage experience would you want? Some schools have dozens of master's students and only do two-three operas a year. Are the casting policies fair at this school? Are there outside performance opportunities?

I would definitely want stage experience. In my undergrad there is one opera per semester and I've participated in all of them so far, except for this past semester when I was in the opera and one of the musicals as well. As long as the opportunities are the same or more, which I'm hoping they will be, that will be good.

6. What do you want to focus on? Song rep.? Opera? Possibilities for crossover? Which school has the best coaches/teachers for whichever area you want?

As I mentioned before, my undergrad has been mostly song rep based, which I have enjoyed. I would like to continue that to whatever extent possible but really want to take the next step and dive into opera. Crossover opportunities would be a plus but not a necessity.

7. How much ensemble are you willing to do? Some? None? How much theory and music history? What kind of off-campus atmosphere are you looking for? Only music? Other fun things to do?

I'm not sure if you mean being in the ensemble of a production or having to fulfill ensemble requirements such as chorus, etc. I can deal with either here and there, but want to train for and focus on putting myself on a path to getting cast in main roles and principal roles. As far as history and theory go, I've gotten A's in the majority of both sequences in undergrad. I would try to study thoroughly and test out of courses if possible, but wouldn't mind dealing with one semester of it if I had to.

8. How much do you know about the business of singing? Which schools offer classes in that area specifically if you feel you don't know enough.

I've had "business of singing" course work in undergrad. Wouldn't mind having some more as long as I'm not inundated with it. After all, my goal is to come out of a program with at least a bunch of connections, if not possible jobs.

9. Are you looking for a school which does opera productions in the summer?

At the moment I don't have an answer. I guess I'm indifferent?

10. What are the graduation/degree requirements you are looking for? Do you want a school that offers MM in Voice Performance, Opera Performance, both? Are you willing to do a recital and a thesis with an oral exam at the end? What do you want to know when you are done with your degree?

Either degree is acceptable as long as I get into a program I like and come out of it with the experience I wanted. Ultimately I want to leave grad school with a solid, improved technique, stage experience singing main roles, and connections for the immediate and long term future. I enjoy recital singing, so I would have no problem and in fact am expecting to perform a final recital that may require an exam, etc. I would also hope that all my classes really facilitated every aspect of the work (diction, musicianship, acting/interpretation, movement, etc.)

I'm actually in much the same boat you are (looking at grad schools), but I would also suggest CCM and Maryland, as both are pretty much guaranteed money if you get in. I've also been trying (rather unsuccessfully) to dig up more information on Rice, which I've heard is similar to the Fletcher program in many regards.

I'm in undergrad at NC Arts, and I can tell you that there will technically be a tenor spot open for the 2010-2011 year. Marion Pratnicki and Marilyn Taylor are both very fine teachers. The general consensus would be that Marion is more of a technician, and Marilyn focuses more on artistry and "finishing," but everyone's experience is different; and you could have a lesson with both and see which works better for you. Typically, the grad students study with Dr. Taylor, though a couple have studied with Marion during my time there.

Great! Thanks for the info. The only thing I don't like so much is the fact that CCM admission requires you to take the GRE. If I remember correctly, most other schools don't ask for that so it's a bit of a pain. But...we shall see.

for applicants pursuing an MM in performance. Only for composition, musicology, music theory, and music education. Which is pretty standard for most schools.

Believe me, if it involved that much extra effort, it wouldn't be on my list. GRE requirements were among the first things I checked when looking into grad schools. Yale doesn't even require the GRE for MM opera applicants.

Cheers

Thanks for that info. I eventually saw that the GRE was only for certain applicants when reading the Prospective Student PDF's.

I've been hearing more and more good things about CCM and I think I should definitely audition (and of course strongly consider attending if I am accepted). Some people have said that it's heavily academic, but my undergrad degree has a large liberal arts requirement so it's not something that would throw me for a loop. I also really like the fact that I don't have to submit any prescreening materials because I am auditioning at a regional site.

Scratch that, prescreening materials are definitely required for CCM. Not sure why I was confused about that.

I think it's a discrepancy between something listed on the website, and what's printed in the handbook. I could have sworn that they didn't require prescreen CDs for regional sites. However, the handbook says that they do, and that is what I would default to in the event of discrepancy.

NT

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To me coming from you. Friend is a four letter word. ---- Cake

A really great school, very competitive for opera.

There are 2 programs: the Opera program and the Sacred Music program. I was in the opera program, so I cannot comment on the other.

The opera program is run by Richard and Doris Cross. Great people who can really help you out in the world of opera. They are in touch with the biggest people in the US as far as opera goes, and consistently put their students in touch with these people. It is extremely competitive at Yale, both to get in and once you get there - there are only 14-16 students, all on full rides, so it is the top level of students you're working with. You are consistently challenged and worked very hard. For those who are not already (before entering) technically sound and thick-skinned. I assume it would be a very tough ride.

That all being said, for those who are ready for the program, I cannot recommend it enough. You get consistent performances and are polished when coming out of the school. I know many people who had the beginnings of their careers (quite large at this point) in that building in off the New Haven green.

BB

After some more research and discussions, I've come up with a more sensible list of schools I will be considering:

CCM
Indiana
Mannes
Boston U
Westminster - Maybe???
Maryland Opera Studio - Maybe???

Would love to get some more info from any of you who may be familiar with the program and teachers at Boston and Westminster. I've heard that Penny Bitzas at Boston is very good and Laura Brooks Rice (Matthew Polenzani's teacher) is good at Westminster. Thoughts?

for what they're worth:
-Smart move taking Curtis off--$150 application fee AND $150 audition fee, PLUS travel costs--ouch. Not to mention it's easily the biggest long shot of any grad school audition.
-I don't see why you took Yale off the list. (?)
-If you're undecided on Maryland, do a search in the forum for it, people love it.
-I had heard (on nfcs, I think) that Indiana and Mannes to not give a great deal of money, though someone recently told me that everyone accepted to Mannes gets 30-70% of tuition covered (can anyone support either of those claims?). Also, most people I've talked with have said that at Indiana you are just a number.

Sorry, can't really comment on Westminster...

Appreciate your thoughts.


Yale just doesn't fit into the picture as far as where I stand right now and what I'm looking for in a grad program based on that. It would be a great program to do but it's just not in the cards.

I do realize Indiana is an enormous school, which could make an experience go either way in terms of good or bad. I'll still apply because there is a great faculty and there will be a lot of top-notch work going on (not just talking about the operas) that I can at least observe and learn from if I'm not participating.

I'll have to keep researching the Mannes financial aid situation.

As far as Westminster goes, "MM in Voice Performance and Pedagogy." You get to choose whether you want the emphasis to be in performance or pedagogy. Not my first choice but I think it's definitely something I should remain open to. If nothing else works out and I happen to be accepted to Westminster, it could turn out to be very good if I end up with a great teacher. The pedagogy knowledge and title wouldn't hurt either. There are interesting projects going on now that they have a new Voice Laboratory...I read here on NFCS that Scott McCoy is the next big pedagogue and he's on faculty there.