Okay so I know ya'll hear these things often. BUT I'm currently looking into some Grad Schools and I would love some opinions. Especially on teachers and scholarship packages. Most of my decision will be based on how much scholarship is offered. I'm banking on the fact that I'm a tenor. I hear this may help. But in any case, here are the schools I'm looking at (in no particular order):

Yale
Eastman
San Francisco Conservatory
Mannes
Manhattan School
U of Miami
Michigan

I've heard that there are some great teachers at Eastman. I'm not sold on Rochester yet though. SFCM I've heard also has some great teachers like Cathy Cook and Cesar Ulloa. But I'm worried they may not have a lot of scholarship money. I wish I knew more about Miami. Looks like a real promising program. Does anyone have any thoughts on these schools? Does anyone have any more suggestions? Hope to hear from ya'll soon!

I can't say anything about the program, but I worked with Benton Hess this past summer who is AMAZING!

I would say to stay away from Eastman. I have not heard anyone coming out of there recently, especially tenors, who are going anywhere. The only teacher left who I feel is doing anything really positive is Rita Shane. Unfortunately, she is only around limitedly due to her studio in New York. Carol Webber has made some strong sounding students as has Kathryn Cowdrick, but they have all been females. As for Rochester itself, it's in the upper 30's right now at 5 minutes of 10 and will be this way until about May. If you like the gray then Rochester is your place though. Summer can be beautiful if the sun stays out long enough. I have been here for all of my 25 years though so take that into account when I speak of the weather. We do have a great Jazz Festival in June and the newly renovated Eastman theater is bringing in some bigger names now (i.e. Olga Makarina in La Traviata and Angela Brown in Aida).

Well.. it's not always about weather. It can be about what is going on inside.Eastman has a very strong undergrad program and a grad program where people actually get to sing roles. I heard Robert Swensen speak about training the male voice at Classical Singer and liked him alot. I thne went online on youtube and listened ot him sing Mozart in Munich . I study with him now and both of his graduating undergrad tenors got full rides at their grad school. He also trained all the baritones in the Figaro cast and his students have sung at early music festivals and one just got a contractfor Sarastoa.

it's not just about the weather, but if people aren't used to it there are some cases of people becoming very depressed in Rochester due to the constant grey. I saw both Figaro casts and was impressed with the casts as a whole. I am actually having a lesson with Swensen's wife next week.

Agreed--I think Swensen is a really wonderful teacher, especially for tenors. I don't know many people who know as much about the tenor voice, or tenor repertoire, either.

I also believe Cowdrick is also an excellent teacher all around, and while conservative with repertoire, I think that this helps rather than hinders the student, regardless of what the student may think at the time...it sounds better to have songs that are way too easy for you as opposed to barely staying afloat...just saying.

I've learned a lot from them both, though I study with Swensen. Definitely DEFINITELY worth checking out Eastman.

Out of all those I would say go to Yale if you can get in. They have money and also I heard that they actively look for management for their music graduates. Also, I know from coaches here in Philly that they have some Yale graduates at AVA and some of the AVA singers are already making their professional debuts at the MET and in European companies.

Curtis is free tuition and some of them get to sing in Opera Company of Philadelphia productions.

I don't think Yale really belongs on a list like that. To be honest. It's at a different level than the schools listed.

Yes, there are Yale grads at AVA. In most cases, they are there because they were the youngest of the group at Yale and needed more time than the older ones who were ready to start their careers. They were very talented at Yale and remain that way at AVA, allowed to mature in a 4 year program.

And, having some inside info on AVA. Yes, they do have one current student who is going on at the Met this year, but they also have many who are not yet to that point in their careers. And there is NOTHING wrong with that. They, in fact, are the majority of the school and I feel it is misleading to tell people that is what to expect if they go there - or to dangle such a thing as a reason to look into that school. One should go to AVA for the intensive coaching and lessons that you don't receive elsewhere. They work their students incredibly hard and try to rehearse and coach as much as is possible. They know they have a long time (4 years) to mold a student, so one can do a lot of work in that time.

Finally, I have said it before on here and I will say it again. DO NOT go to Yale if you're not ready to be exposed to the highest level of the industry. Most things I have today in the music world, I can trace back to Yale. They put the wheels in motion on a lot lot. And yes, my management is because of them, etc. But, you are not heard by mid-level management, or companies at Yale. Only the top. In my time there I was heard by agents from: CAMI, IMG, Herbert Barrett, Opus 3. And by reps from: the MET, NYCO, COC, etc. It is not a place where a young singer necessarily thrives. And I don't mean young by age - I just mean by readiness. If you ARE ready - by all means, I cannot suggest the school enough.

So, to the OP - yes, Yale is free with a stipend. But just make sure you're ready. It is a program with few students that works at the most intense level I've ever worked. Curtis is a great place to be. or AVA. But to be clear - all three I would put at a level higher than the rest of the schools you listed.

Hope this helps,
BB

nt.

Excellent points about Yale. No doubt about "the program", it's good. However, if you need to improve your technique, you might want to check out the teaching going on there. If you don't need to work on your technique, then go to the school where top companies and managers will hear you. If you do need some technical work, go to the school, and the teacher, where students are improving. Determine very clearly where you are in your development and what you need to get out of graduate school. Then, ask the right questions FOR YOU. Best of luck!

How much is it annually? I'm not trying to nose, but their website doesn't go into a great deal of detail, and it's something that I to need to take into account during the grad school search.

I think it would probably be best to call the School of Music about such a thing anyhow.

You seem to know a lot about OPs and this is great advice. I'm wondering, do you know if these programs look for experience or talent? If your technique & audition is solid, but say you don't have an MM (but study privately) or a long list of stage roles, do they still consider you?

Thanks.

Rita Shane is terrific and has trained some very fine singers. Personally, I found the weather to be a big PLUS--the worse the weather, the more practicing and studying I did while at ESM. That time spent in practice rooms and the truly amazing Sibley library helped tremendously!