The Opera Studio Melbourne

Program Information

Opera Performance Training. For Real

2 The Opera Studio Melbourne

The Opera Studio Performance Program

A truly individual opera singer is creative, passionate, courageous, versatile and flexible: these qualities are vital to achieve full potential. Aspiring opera singers must have first-rate vocal and musical skills, but these skills must be enhanced by qualities of dynamism and imagination to make a lasting impression on audiences and future employers. Only real performance experience can provide the medium for the discovery and refinement of that true, individual, artistic personality. Linda Thompson, Artistic Director The Opera Studio Melbourne offers an intense practical opera performance program for the aspiring opera singer, providing specialist training in all aspects of opera as theatre. In the context of fulfilling a busy and varied performance schedule, skills are fostered and developed to build strong foundations for the rigours of a future career in opera of the 21st century. Participants are led by a highly qualified and internationally experienced resident and sessional faculty, benefitting also from regular master classes and forums with critically acclaimed professional visiting singers, directors, conductors and coaches. Expert coaching in singing in English, French, German and Italian, music, drama, stagecraft, character development, movement and professional conduct ensures The Opera Studio delivers a quality public performance program, and that graduates are equipped and confident to fulfill. the demands on a professional opera singer.

Putting theory into practice Participants need to be devoted and prepared to engage fully in the responsibility of professional performance. Performance commitments include a main stage opera, at least four chamber opera productions, including an opera for children, as well as public concerts, soirees, Master Classes and special events. Reliability, adaptability and versatility are necessary qualities of the 21st century opera singer. Singing principal & supporting roles, as choristers and assisting as crew in the various opera productions and events throughout the course provides real experience in all facets of opera production. P ER FOR MAN CE STR EAM (12-16singers/1-2 repetiteurs) For pre-professional artists with a high level of vocal training and stage experience. FOU N D ATION STR EAM (up to 4 singers/1 repetiteur) For singers with outstanding potential but little experience.

Opera happens only when the curtain goes up...it doesn’t happen in the vocal studio, in auditions, or in contests... [opera] is a theatrical event - an audiovisual art...the skills needed to be theatrical must be present in all performers before they qualify as professionals. The Third Line, The Opera Performer as Interpreter Helfgot, D. & Beeman, W.

Immerse yourself in the craft of learning, singing

and acting opera.

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The purpose of performers is to make-believe, and believing that goes with operatic performances is affected by a wider array of elements than in any other art-form…Believing precedes feeling, and believing (or the suspension of disbelief) is the purpose of everything that is done. Believing is the basis of effective interpretation. Opera is never the obvious or routine, but those subtle distinctions which interpretative artists of real talent bring to their work.

Believing in Opera Tom Sutcliffe

As a company member of The Opera Studio in the PERFORMANCE STREAM, all singers sign a contract to fulfill responsibilities in public performance projects and opera productions throughout the Program. Operating on a call-sheet/project basis, singers experience the workings of a repertory company with dedicated training, coaching and preparatory sessions. Working alongside industry professionals, singers receive music, language and drama coaching, both solo and ensemble, participate in workshops in stagecraft, drama and characterization, and gain practical experience of stage and opera management, including guidance in handling promotion and publicity, including interviews. The schedule is determined by the performance program, and designed to provide a taste of reality in the dedication and intensity demanded of professional opera singers preparing and performing for a variety of experiences. In 2010, The Opera Studio Melbourne introduced a year-long FOUNDATION STREAM for singers who have completed initial singing and music training and who show outstanding vocal potential, but are not quite ready for major roles and responsibilities. The curriculum runs alongside and shares many facets of the PERFORMANCE STREAM, including many public performance outcomes, but with a greater emphasis on preparation and training. At the end of the year, FOUNDATION STREAM singers may be automatically offered a place in the PERFORMANCE STREAM for the following year. Activities for both streams are dictated by specific public performance outcomes, prepared and supported by experienced professionals. Decisions about the repertoire and projects will be made after places have been allocated. 2012 Projects include a two week residency project with visiting international director, as well as mainstage production, two chamber operas, various performances in regional centres, schools and cultural centres. an Opera for Film Project, Melbourne Venue Project and four Gala Concerts.

Stacey Alleaume as Zerlina and Nathan Lay as Masetto in Mozart’s Don Giovanni (2009) Photo: Sam D’Agostino

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‘Nurturing our young talent so they can truly shine’

Soprano Merlyn Quaife

At the end of the program, it is expected singers will have

Performed major or minor principal roles and chorus

Experienced the workings of a repertory company and the rigours and expectations at a professional level

Established relationships with mentors and peers to assist throughout their careers

Harnessed a solid base of performance skills, from role preparation to stagecraft, characterisation to collaboration, in the rehearsal room and in performance

Performed to audiences of all ages and backgrounds in traditional and non-traditional venues

Received expert coaching in Opera Studio and audition repertoire: roles, arias and ensembles, including pronunciation and diction in English, French, German and Italian

Obtained a thorough understanding of the performance process and etiquette

Thoroughly prepared a portfolio of audition arias and an impressive performance CV

Developed an artistic personality, capable of coping with the demands of a 21st century career in opera

Unique to The Opera Studio Melbourne Performance Program is the variety and intensity of public performance activity in a variety of venues: a proscenium arch theatre, in community halls, in churches, in schools and other traditional and non-traditional performing spaces.

From top:

Orpheus in the Underworld, National Theatre, August 2011

City of Yarra Melba Gala, Richmond Town Hall, May 2011

Hansel and Gretel, Schools Performance, November 2010.

Nicholas Dinopoulos as Leporello Don Giovanni (2010)

Information

Prerequisites

All participants are selected by audition. Singers will normally have completed a Bachelor degree, or demonstrate equivalent vocal and musical development, independent learning and theoretical skills. The core of the program is performance, and care of voice and commitment to teamwork are paramount. The Opera Studio does not offer regular singing/voice lessons, but is focused on offering young singers professional guidance, performance experience, language, music and drama coaching to fulfill a busy public performance schedule. All singers are expected to continue private singing/voice lessons with their teacher of choice (at own expense) and to maintain a healthy level of vocal proficiency throughout the program. Singers enter a contractual agreement for the duration of the program to fulfill attendance and performance obligations. This agreement requires the approval of the Artistic Staff be

obtained for any outside performance, concert or engagement prior to acceptance of that engagement. Approval of absence for any outside activity must be sought well in advance. Schedule The 2013 Program will run from March 12 to November 30, with a min. 3 week break mid-year, and 1 – 2 week study-recovery breaks after major projects. Rehearsals, coaching and workshops will be scheduled Monday – Thursday between 9am – 5pm. Generally there will be no rehearsals on Fridays to allow singers to work, have singing lessons etc. However, there will be periods when singers will be required to rehearse and/or perform on any day of the week leading up to, or on the day of a performance. At all times, vocal health is paramount, with appropriate preparation time and recovery breaks scheduled between projects. Productions and schedule can only be confirmed when acceptances are finalized and participants’ voice types and capabilities are known. A draft schedule will be included in the handbook upon acceptance of offer. Performances will include a mainstage performance with orchestra, chamber operas in non-traditional spaces, corporate events, children’s opera, recitals and soirees. In 2013, we will also do four Gala Concerts. Regular Forums, Master Classes, and Workshops will be held, and may be open to the public. General induction will be held for all new participants, covering professional conduct, schedule management, care of voice and body, media and promotion, and a combination of vocal, stagecraft and movement workshops. The induction period will be used to determine an individual performance plan for each

PROGRAM FEES

Australian Residents AUD11,000 p.a.

Overseas/Non-Resident

AUD15,000 p.a. Program Fees Performance and Foundation Streams The Program Fee covers workshops, coaching/music calls, rehearsals, production calls and performances. The Program Fee represents less than 30% of the cost of providing the Program. The Opera Studio Melbourne relies on the generosity of Partners and Donors, and commitment to the presentation of a quality public performance program. Each participating singer has a heavily subsidised place in the Program. Scholarships Full or part Scholarships for Program Fees may be awarded on the basis of exceptional potential, required voice types, and/or financial hardship, based on audition and interview. Financial assistance/fee payment by installment will normally only be granted for the second and subsequent year of the Program, but first year singers in extreme financial hardship may apply in writing to the Treasurer for consideration. (Australian Residents only)

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Stage 1

APPLICATION

Applications for 2013 places are now invited.

An application form can be downloaded from our website. www.theoperastudio.com.au

The completed application is to include:

1. Name, mailing address, telephone numbers (including mobile number) and email address. 2. Two copies of a recent photograph (for identification purposes only) 3. Name and contact details of current singing teacher and two other referees. 4. A statement of purpose: why you want to participate in The Opera Studio Program 5. Overseas/Interstate Applicants – See below for Audition via DVD.

Completed applications should be emailed or mailed with a non-refundable audition fee of $55.

Faxed applications cannot be accepted.

Postal address:

The Opera Studio Melbourne P.O. Box 529 East Melbourne VIC 3002

Stage 2

AUDITION

Upon receipt of Application Form, and audition time will be arranged.

For the Performance Stream a minimum of two, maximum of four operatic arias should be prepared, with preferably but not essential, at least one in English/English translations. Foundation stream singers should present two arias, or art songs in any language.

An accompanist will be provided, or you may elect to bring your own (at your own expense)

Interstate/Overseas Applicants

Interstate and overseas applicants are to submit the application form and fee along with a recent unedited DVD, with a spoken introduction/summary of aims and achievements, and 2-4 operatic arias. A telephone interview may also be required. Please note that the application form and audition fee may be submitted prior to the sending of a DVD for consideration, but that places are limited, and DVDs will be evaluated in order of receipt.

Stage 3

OFFERS

Offers for 2013 places will be made following Audition, and acceptance in writing is required by the due date on the letter of offer, with a $1500 deposit. Balance of Program Fees due by March 1, 2013. Places not accepted by the due date may be offered to another applicant.

The decision of the audition panel is final, and a written audition report may be available upon request at the discretion of the audition panel. No further correspondence will be entered into. Unsuccessful applicants will be notified by mail.