NACTMUS - National Council of Tertiary Music Schools - Conference 2001

Opera Training for the 21st Century

by Michael Halliwell

1. BACKGROUND

In this paper I wish to examine the continuing process and some of the preliminary conclusions of the current review of the opera courses offered by the University of Sydney Conservatorium of Music. I also wish to trace changes in the views of the Review Committee over the period of the review so far in response to the examination of a number of opera courses both within Australia and abroad.

The University of Sydney recently decided to abolish three-year diplomas which meant that the current Diploma of Opera, the Conservatorium's primary opera course, needed to be reviewed and reconfigured or replaced. A committee was established in 2000 with the purpose of making recommendations which would be implemented as part of this review. This committee consisted of representatives from the Vocal Studies and Opera units, the Principal and Assistant Principal of the Conservatorium, and the then Artistic Director of Opera Australia.

The main rationale behind the Review was stated at the outset:

Rationale for Course Review

The aim of the opera programs at the Conservatorium is to develop singers through the acquisition of an integrated body of knowledge, skills and attitudes which prepare students to embark on a career in opera.

The contribution which opera teaching at the Conservatorium has to make may be viewed from three perspectives, namely in respect to the individual students, to the music profession and to society in general.

First, the programs will enhance the artistic and professional expertise of its graduates. It will provide skills and knowledge which provide the basis for embarking on a career in opera and for sustaining that career.

The programs will also contribute to the music profession by providing graduates with developed skills in operatic performance and with an understanding of the potential of opera to enrich and transform contemporary culture and be able to communicate its significance to the community at large.

Finally, graduates will contribute to society through artistic expertise and judgement which enriches that community aesthetically, which challenges it artistically, and which provides imaginative ways for the community to develop and transform its thinking.

There were a number of factors which provided the impetus for the Review:

1. The need for structural change to fit university requirements and structures.

2. Change in professional opera practice. Specifically the national and international move away from permanent opera ensembles offering regular employment requires that opera singers be stylistically versatile as well as flexible in creating their own performance opportunities.

3. The need to produce performance ready professionals.

4. Recognition of the opportunities to balance academic and professional training. The Conservatorium is able to offer a unique combination of resources for students of opera. The University of Sydney provides excellent tuition in languages and cultural history. The Conservatorium offers courses in music history, theory, ear training, stagecraft and movement, and general music skills which may be integrated into the opera course. Close co-operation with the national opera company exposes students to the actual practice of professional skills, while they learn the theory and practical skills of their craft.

At present, the bulk of the opera training offered at the Conservatorium takes place at an undergraduate level. There is also a one-year Graduate Diploma as well as a two-year Master of Performance (Opera). However, the number of students presently enrolled in these graduate courses is limited as the undergraduate Diploma has traditionally been perceived as the appropriate course for potential opera singers to undertake. Another pertinent reason for the small numbers of graduate students is that the Graduate Diploma and Master of Performance are coursework degrees and thus full fee paying!

The Diploma of Opera is undertaken by vocal students who have generally, although not always, completed a previous degree or diploma. There is a minimum age limit of twenty-one. Students who enrol in this diploma are usually at a level of development where the possibility of a career in opera is a viable option. Of course, the successful completion of such a course does not guarantee a successful career - in fact, the reality of the situation is that a relatively small percentage of graduates would actually move on to a full-time career in opera. This situation, one may add, is deteriorating rather than improving!

2. CURRENT SITUATION

One of the dilemmas in delivering the current courses is to strike the correct balance between purely vocational training, ie. the primary purpose being an operatic career, and the reality of attempting to provide a more broadly focused course which will be a preparation for the actual working conditions that students will encounter in their professional lives. Most graduates of opera courses will gravitate towards a variety of careers, often moving in and out of active full-time operatic careers. Many opera course graduates pursue careers in related areas such as arts management, broadcasting, freelance corporate performance, and, of course, teaching. The course description of the current Diploma states:

The Diploma of Opera prepares graduates for the various demands of the profession. At the end of the course students will sing with technical proficiency and perform with a sense of musical style and dramatic interpretation. Study of the vocal and physical aspects of performance will be complemented by a general awareness of professionalism and the practicalities of theatre, its requirements and environment.

During the course, students will acquire basic pianistic skills, a thorough understanding of musicianship, the capacity to sing in the major operatic languages and perform movement and dance sequences, and learn to build a character on developed stagecraft skills.

Reading this description, one could reasonably conclude that the broad objectives of this course are purely vocational, with the focus squarely on the practical skills required for an operatic career. One of the interesting aspects of looking at this course as it stands is deciding whether it has more of an affinity with a competency or a capability model. At first glance one would assume that a course which prepares students for a specific career in opera would fall more within the competency model. (The present course review has as its focus just such questions about the purpose of this course) The course description is fairly explicit, stating that graduates should possess the qualities (although these are not fully articulated) which are needed for a viable career in opera with no mention of other related career possibilities. There is little evidence of the kind of rhetoric associated with capability models where talk is of a much broader and holistic purpose with the aim being to develop generic skills.

3. POTENTIAL MODELS

The difficulty is, naturally, how to build into a vocationally specific course the kinds of generic qualities advocated by the capability program (and whether this is in fact, desirable). One possible disadvantage of the capability model is that this approach could dilute some of the emphasis on the essential skills and content presently characteristic of this course. The demands made on opera singers today are many and varied and have certainly evolved considerably over the last thirty years although certain core requirements remain relatively unchanged. As can be seen from the present course structure, there is a strong emphasis on elements such as languages, music skills, development and consolidation of vocal technique, stagecraft skills etc. Of course, the possession of these skills is central to a career in opera and the delivery of these aspects of the course is very skills specific.

In a survey of several opera training institutes both in Australia and abroad (Boston University Opera Institute, Curtis Institute of Music Opera Theatre, Juilliard Opera Centre, Victorian College of the Arts, Queensland Conservatorium of Music, Guildhall School of Music and Drama, Royal Scottish Academy of Music and Drama, Manhattan School of Music Opera Studio), a consistent trend towards graduate rather than undergraduate opera courses emerges. The international trend is towards singers enrolled in undergraduate courses taking units in opera-related subjects as part of their more generalist undergraduate degrees. These units could be seen as preparatory subjects which give young singers a 'taste' of opera which is useful in enabling them to decide whether this is the direction in which they wish to pursue more specialised studies. It also gives students who wish to move in other directions and decide against further opera studies a more practical undergraduate degree rather than a specialised opera diploma. The most common current model for specialised opera training appears to be a one- or two-year postgraduate course which is very skills-specific but which presupposes a high level of development of the required skills for entry.

The main criteria for entry into the current Diploma of Opera at the Conservatorium are a minimum age of twenty-one and a level of vocal development which enables the student to cope with the advanced technical demands of the course. Often bitter experience has shown that students must have a stable and reasonably well-developed vocal technique as there is limited opportunity for remedial vocal work. Potential students require no prior formal musical training as such and, indeed, a fairly significant percentage of students come from a non-musical background, often having completed a degree or diploma in an unrelated discipline. If their musical skills are limited, students have the opportunity to enrol in music skills courses designed to remedy any perceived deficiencies. The rationale behind this was that in the past many successful opera singers came from a non-musical background - the discovery that one possesses a potentially operatic voice sometimes occurs well into one's twenties, or, indeed, even later. However, it has become increasingly apparent that the demands of the contemporary operatic profession are such that the development of a relatively high level of music skills is essential. The days of an opera singer being unable to read music are well and truly over! Yet one needs the mechanisms in place to accommodate those students who do have exceptional vocal material but extremely limited music skills.

4. UNDERGRADUATE OR POSTGRADUATE?

One of the first issues raised in the early discussions of the Review concerned the desirability of having any opera training at an undergraduate level at all. Age is a critical issue in vocal training. Generally, the voice is not mature enough or has not attained a level of technical expertise to enable it to cope with the exacting demands of opera until the early to middle twenties, if not later. Of course there are exceptions to this but the basic requirement of a minimum age for entry was seen as unavoidable. There is the added complication that male singers' voices usually take longer to mature than female singers so that male singers in opera courses are frequently older than their female peers, and often less technically developed. (There is the further complication that there are usually more female students enrolled in opera training but there are far more male roles to cast in most operas.) However, all participants in the Review held the view that training in opera-related subjects could certainly begin to be taught much earlier than the required age necessary to sustain a role on the operatic stage.

What the questionnaires (see Appendix A) as well as the consensus of views of members of the panel revealed was that the most important of these subjects is languages (the fact that one possesses the basic vocal material and that vocal training was central to any course was taken as a given). It was stressed both by members of the review panel and by all experts consulted by the panel, that language training should begin as early as possible and continue to be taught as intensively as time and financial constraints allowed, right throughout the various courses. Language training occurs for vocal students in most undergraduate courses, but it is usually offered at a relatively elementary level and focuses more on applied diction than on an in-depth knowledge of the grammar and structure of the language.

Other subjects which could be taught in the early part of the training include stagecraft, movement, opera history and repertoire, and other related courses. Of course, vocal training would commence as soon as the student entered the institution and would continue throughout the whole process. The consensus reached early in the review process was that some aspects of opera training should commence during the undergraduate degree, while the more formal intensive course should be delivered at a postgraduate level. This was in line with the survey of Australian and, particularly, international opera training institutions.

One of the first options to emerge was the possibility of incorporating aspects of opera training into the current four-year Bachelor of Music degree, or into the more loosely-structured and flexible three-year Bachelor of Music Studies, presently offered at the Conservatorium. It was envisaged that there could be an operatic stream in the BMus which might commence at the beginning of the third year. One of the advantages of this was that students could get a 'taste' of what opera was about without having to commit to the full-time demands of the current Diploma of Opera. If they found that this was not where their interests lay, the perception would be that their time had not been wasted (as was sometimes the case in the Diploma of Opera). This would align this degree more along capability lines as a variety of generic skills could be acquired rather than purely opera-related ones.

5. MASTERS

It became increasingly apparent that the main opera offering at the Con should be at the postgraduate level. The current year long Graduate Diploma was seen as being too short to accomplish all that was seen as desirable, so that a two-year masters quickly became the preferred option, but with more flexibility in its structure than the current masters. It was also suggested that provision be made for the possibility of a preliminary year for those students who might not, at the stage of audition, meet the entry requirements, but who would benefit from a simplified and clearly-focused preparatory year to remedy any deficiencies in particular areas such as languages, vocal technique etc. Some students with outstanding vocal potential, but lacking in technique, would benefit from intense vocal work to get them to the required technical level. This preliminary year would also make it possible for students graduating from the Bmus. who might have the potential to enter the masters but needed an extra year to consolidate their vocal technique.

One of the other important factors in opting for the main opera course being offered at the graduate level was the existence of close ties with Opera Australia which were seen as vital to the success of any new courses, as well as being a desirable attraction for potential students, both in Australia and abroad. These links were formally established about three years ago and were strengthened by the appointment of a Chair of Opera Studies in 2000 who is also Artistic Administrator of Opera Australia. (At present, for administrative purposes during this transitional period, the two units have been combined while the long-term structure of the opera unit is established.)

The main benefit of this close relationship with Opera Australia is found in the Opera Encounters Program in which students from the Conservatorium work with singers, conductors, coaches and directors from Opera Australia in formally structured sessions as well as on a one-to-one basis. There is also the embryonic Mentoring Program in which students are paired with established and experienced singers who advise them on the many aspects of an operatic career. It was envisaged that these links with Opera Australia would come to play an increasingly important role in the actual training and assessment and form an important part of any new course. During 2000, several of the current opera students were able to participate in Opera Australia productions as members of the extra chorus. This year, several of the advanced students are doing small parts in Opera Australia productions while others are involved in extra chorus work.

One of the major difficulties faced by virtually all young singers is bridging the gap between their training and entering the profession. Training institutions can only provide a limited amount of real performing experience, while other opportunities to perform outside the institution are limited. Australia (even a major metropolitan centre such as Sydney) is not in the fortunate situation of having small fringe opera companies where young singers can gain invaluable experience performing major roles in fully-staged productions with orchestra. Opera Australia requires singers to have a certain amount of stage experience, so it is apparent that many young singers find themselves in a "catch 22" situation!

At present, Opera Australia offers a 'Young Artists Program' in which young singers who are basically at a professional level are given specialised intensive training to equip them as all-round performers. They usually perform small roles in Opera Australia's main seasons, but would also be involved in the schools touring program as well as in a variety of concerts and other performances. The Opera Review Committee saw this program as a possible mechanism which might offer the opportunity to bridge the gap between training and professional work for Conservatorium students. One of the early proposals was to make the second year of the possible new masters an equivalent of the Young Artists Program. Of course, in practice this is not as simple as it appears. Questions of equity arise as it is always difficult to offer students equivalent performing opportunities owing to different levels of accomplishment as well as the number and variety of roles on offer in any given season. (This is a problem that occurs in all opera performance training institutions.) Obviously a compromise would have to be reached between opportunities to perform with Opera Australia and other performance possibilities. However, whatever form this ultimately takes, close alignment with Opera Australia is crucial to the success of the new courses.

6. ESSENTIAL COMPONENTS

One of the initial briefs of the Review Committee was to determine what were perceived as essential components of any new course.

a. Vocal training

A high level of vocal development as well as a generous natural endowment was seen as a prerequisite for entry into the course. As one member of the panel put it when asked what they saw as the most important criterion for entry: 'voice, voice and voice!' One lesson per week was seen as a minimum: two as desirable. Repertoire coaching is a vital part of this aspect of the course. One hour a week was seen as a minimum, two as desirable.

b. Languages

The consensus which emerged from the various questionnaires compiled from interviews with present and past students (see Appendix A), as well as practitioners, was that the present level of language training was inadequate in meeting the current demands of the profession. Singers today need to have high levels of competence in the three main operatic languages: Italian, German and French, as well as a sound understanding of the cultural backgrounds of these major operatic nations. It was generally agreed that the equivalent of a first-year university language course would be a prerequisite for entry into the masters. The focus of the language training in the actual opera course would be on applied diction while extending the levels of competence.

c. Music Skills

As mentioned previously, in the past students have embarked on opera training with limited or even no basic music skills. It has become increasingly apparent that it is virtually no longer possible to function professionally without a reasonably high level of basic music competence. It was therefore deemed appropriate that some mechanism be put in place to cater for those students who had the vocal material suitable for a career in opera. One of the possibilities was the new two-year generic diploma being introduced in the Conservatorium which could be structured according to the specific needs of individual students. (This two-year diploma is increasingly seen as indispensable to the success of opera training at the Conservatorium. The reasoning behind this view was that if the Conservatorium did not provide this training, it would be extremely difficult for students to gain this training at a suitable level anywhere else.) The possibility of a preparatory year for the masters would also be an opportunity for potential students to remedy any gaps in their skills. For direct entry into the course a certain level of all-round expertise would be a prerequisite.

d. Stagecraft and Movement

Students would be required to demonstrate some relevant stage experience before admission to the course. The nature of the masters would be such that the focus in this area would be on honing and refining these skills to an appropriate professional level rather than developing them from a low base. The difficulty, of course, is where students will acquire this experience!

7. NEW BACHELOR OF MUSIC STUDIES (OPERA)

A possible model for undergraduate training for the Conservatorium could be built into the present Bachelor of Music Studies. In this degree students are offered a potential total of 66 free choice credit points out of a total of 144 credit points. Therefore, nearly half of their degree could be devoted to opera related subjects. Students within this degree have the option to take courses offered by other university faculties and many take advantage of this. For potential opera singers, obviously the most useful kinds of courses that could be taken outside of the Conservatorium would be languages. Singers could thus take two years in at least two languages, and possibly three languages. This has the advantage for students who would then continue on to do a postgraduate opera course that they would have a very firm basis in the important languages - one of the areas which has consistently been identified as a deficiency in current operatic training. The language training presently available in the postgraduate period could then be more specifically focused on the application of the basic skills acquired during the undergraduate degree.

Other subjects that could be taken include vocal and opera repertoire, as well as history of opera. Introductory courses in stagecraft and movement could also be included as part of the undergraduate degree given the freedom of choice it offers. One of the problems we face in the present Diploma of Opera is the varying music skills levels of entrants to the course. Many have completed a Bachelor of Music and therefore have the required skills. Others, however, might have an initial degree in another discipline or have not reached a sufficient level and therefore require remedial work which is done in the four-semester Music Skills component of the course. Students who do not have the required skills in the new model could be required to complete appropriate courses in the Bachelor of Music Studies degree (Opera) (or the new two-year diploma which could have a very similar structure) preparatory to their entering a postgraduate program. This would help to alleviate the difficulties that different levels of musical skills pose and which presently characterises several students in the current Diploma of Opera.

While a Bachelor of Music Studies (Opera) would focus on developing skills necessary for the graduate opera course, the main objectives of this degree would be the development of more generic skills which could be seen as a necessary basis for further specialisation. From this perspective, the focus of this degree could be said to be based more on a capability model - developing generic skills and less vocationally oriented than the present Diploma of Opera.

8. DIPLOMA OF OPERA

As mentioned previously, the current three-year Diploma of Opera has to be replaced by a two year equivalent. In practice, much of the current diploma can be accommodated in a two year diploma. This diploma would serve as a foundation for more intensive high level graduate studies. It would also serve as a 'cut off point' for students who discover that they do not possess the wherewithal for a career in opera. The structure of this diploma would essentially be the same as the second and third year of the current three-year diploma.

9. MASTER OF OPERA

The graduate course then, could be seen as based more on a competency model. The Conservatorium has a one-year Graduate Diploma which articulates into a two-year Master Of Performance (Opera). The present course description states:

The course aims to develop and refine the technical and interpretative qualities of the student's voice as an operatic instrument with emphasis on developing self-sufficiency in role selection, concert repertoire and program building. It includes a focus on text-related matters in various kinds of vocal music to foster the development of skills as an interpreter in all the major operatic languages. Candidates also study language structure, poetry, and operatic text within a cultural and historical context and will focus on increasing awareness of the word/music relationship. Each semester will have a tutorial devoted to one language: English, Italian, German and French, as well as a workshop on repertoire in any given language.

Both the Graduate Diploma and the Masters include a series of encounters, conversations, ensemble rehearsals, workshops and concert and/or staged performances to develop skills as an operatic performer, with particular emphasis on character and role building, movement and gesture, the understanding of emotional context and general communication skills. The Opera Performance Portfolio in the Masters course requires a selection of a particular aspect of operatic specialisation for an extensive exploration. This investigation may focus on the historical, cultural, and political contexts of the operas or could explore unifying thematic or stylistic elements of selected roles. The final presentation of all the roles studied is accompanied by a written reflective element.

Consultations with the industry (in this case, mainly Opera Australia, but also including visiting conductors, singers and directors who have extensive knowledge of current opera training in Europe and North America) have revealed a reasonably clear picture of the kinds of graduates we need to produce. What seems to be the situation at present is that graduates of the Conservatorium (not to mention graduates from other training institutions in Australia) are perceived as lacking the higher level all-round skills needed in the profession. The objectives of a graduate opera course could thus be seen as the further development and refinement of the skills necessary for a career in opera which have been introduced in the Bachelor of Music Studies (Opera), the Bachelor of Music, or the Diploma of Opera. Obviously elements of autonomy and independence are sought after qualities but it would be hoped that many of these attributes would be developed in the previous degree.

The new masters will be the major graduate opera course offered by the Conservatorium and it would be assumed that students entering the course would have developed specific skills such as voice, languages, stagecraft and movement etc. to a high level in an undergraduate degree or diploma. A unit such as Language and Interpretation (offered in the current Graduate Diploma and Masters) would assume a different focus - there would be little need for work on the grammar of the language or linguistic structures, but on aspects of language directly related to vocal performance. The basis of the language would have already been laid in undergraduate work.

An immediate improvement in the course, and one which is anchored in both the competency and capability models, is the incorporation of more activities directly relevant to the actual working conditions that could be encountered by opera graduates. In this regard, the links with Opera Australia which have been fostered during the last few years are crucial to the success of this course, and, indeed, to opera training at the Conservatorium. At the moment, these activities, while recognised as being extremely valuable to their development, are peripheral to the course as such and play no part in the assessment. A mechanism needs to be developed whereby these work-related activities can form part of the general assessment. A difficulty is that not all of the students are involved, and the level of involvement can vary considerably, so that flexible assessment strategies need to be developed.

10. OPERA TRAINING AT THE CONSERVATORIUM

Opera training at the Conservatorium would be structured as follows:

In the undergraduate years the following subjects would be taught:

Stagecraft

Movement

Languages

Opera History

Opera Repertoire

Bachelor of Music (4 years) Years 3 and 4

Bachelor of Music Studies (3 years) Years 2 and 3

Diploma of Opera (2 years) Years 1 and 2

Preliminary year (if necessary)

Master of Opera (2 years)

Year 1

Year 2 (an equivalent of the Young Artist program, or close alignment with Opera Australia)

11. THE FUTURE

One of the major issues which I have only touched on tangentially is the cost of opera training. This seems to me to be an institutional issue which needs urgent attention. The training of an opera singer can be seen as encompassing the costs of both that of an actor and a musician. By its very nature it is expensive and intensive and there needs to be an in-built flexibility in opera training courses to adapt to changing circumstances and needs. Opera students need to perform, and to perform in conditions closely approximating those that they will encounter in the profession. Anecdotal evidence suggests that Australian singers who pursue their studies or careers overseas have all the technical vocal resources required, but often lack performance skills which can only be developed by performing! There needs to be a critical mass of students in any opera course so that the choice of possible productions is reasonably wide.

I would suggest that while opera training needs to be incorporated into larger institutions such as the Conservatorium so that, for example, the orchestral resources can be called upon, these courses also need a certain autonomy both in the way they are run, and in their degree structures which must recognise the uniqueness of opera training. Attempts to 'fit' opera courses into what are largely instrumental degree structures are doomed to failure. The current funding situation in most tertiary music schools in Australia is inadequate for optimum opera training and it is imperative that opera schools seek additional sources of funding. A situation similar to that in which NIDA finds itself would be more effective than the current situation. One also needs to consider whether there should be certain amount of rationalisation on the number of institutions which offer opera training. The move towards what could be seen as a National Opera School is something which needs to be seriously considered. An effective opera course, in my opinion, ideally needs to be run in collaboration with an opera company, a situation often found in Europe.

In conclusion, it has been instructive to consider the Review process as well as the courses I have described from the perspective of capability and competency. My sense in discussions with colleagues as well as people in the profession is that while a capability approach is ideal, the acquisition of specific professional skills is seen as the highest priority. One is aware of a tension between the desire to educate students as broadly as possible - to foster capability - and the specific vocational demands of the profession which is what is sometimes perceived as lacking in our courses. The ability to bridge this 'gap' between capability and competency is the task we face.

WORKS CITED

Biggs, John. (1999). Teaching for quality learning at university. Buckingham. Open University Press.

Cairns, Len. (1997). Capable Organisations: An Overview of the Theory, and Research Literature. For the ANTARAC "Capable Organisation" Research Project.

Ramsden, Paul (1992). Learning to Teach in Higher Education. London: Routledge.

Stephenson, John and Weil, Susan, Eds.. (1992). Quality in Learning: A Capability Approach in Higher Education. London: Kogan Page Ltd.

Stephenson, John. (1996). Beyond Competence to Capability and the Learning Society. Lecture notes from International Program of Seminars and Workshops on Higher Education.

Stephenson, John and Yorke, Mantz, Eds. (1998) Capability and Quality in Higher Education. London: Kogan Page Ltd.

Appendix A

Sample questions from the survey of current Students

Entry requirements

What characteristics do you think makes a good candidate for opera training?

All respondents stressed vocal talents and most mentioned dramatic talent. Other characteristics were flexibility and 'openness to learning'. Another attribute seen as important was 'drive and will to deal with competition'.

How did you entry requirements test for these characteristics?

Most were satisfied with the procedures, some felt the interview could have been more exhaustive.

Course aims and objectives

What do you think are the most important aims of an opera training course?

Most replies focused on the preparation for the realities of what they would encounter in the profession. All stressed the acquisition of all-round skills such as vocal training, languages, ensemble singing, singing with an orchestra, general performance experience. Most expressed the awareness of the competitive nature of the industry and desired the skills to learn to cope with these demands.

Present course of study

Why did you choose to do this course? Why at the Sydney Conservatorium?

The desire for practical experience and the perceived links with Opera Australia.

What have been the most useful or worth while aspects of your course? Why?

The responses were equally divided between the opportunity to pursue vocal training at an advanced level as well as coaching and language study. Most expressed the desire for practical performance ie. staged productions with orchestra.

What aspects of the course are less useful? How could they be improved?

Many felt that passive masterclasses, lack of extensive language work, and timetabling problems were the main problems. The consensus seemed to be that the emphasis needed to be placed on practical activities which had a direct relevance to professional conditions.

Design and Structure of the Course

At what age should students begs of opera training would be ideal? Please explain why.

Most agreed with the minimum age of 21.

Should opera be taught at an undergraduate level? Why.

The general view was that it would be possible if the student was ready i.e. had the necessary vocal and language skills. A previous degree was not seen as essential for entry.

What would be the best types of course or experience for undergraduate opera training?

The importance of actual stage experience was the general response.

Should opera training be provided at postgraduate level?

All agreed that this was desirable but some baulked at the potential financial cost.

What would be the best types of course or experiences for pg opera training?

The response indicated the desirability of close collaboration with OA with the wish for extensive performing experience as soloists.

Readiness for the Profession

Do you feel this course will prepare you for professional work as an opera singer?

Most students felt that the basic structures were good but that all aspects needed to be intensified and expanded.

Recent graduates

Entry requirements

How did the entry requirements relate to the course as you experienced it?

most responses felt that they were fair and realistic.

Would you suggest any change to the entry requirements?

Most students mentioned some sort of test for a certain level of both music skills as well as language ability or knowledge (all feel that they are held back by these factors in other students)

Recent course of study

Why did you choose to do this course? Why at the Con?

Both the reputation of the con's opera training as well as the links to OA.

What were the most worthwhile or useful aspect of your course of study? Why?

A variety of responses: vocal lessons, language study, productions, encounters, contact with the OA.

What aspects of the course were less useful? How could they have been improved?

Some of the acting and stagecraft course were seen not be integrated into the structure. The varying levels of music skills was problematic as well as inconsistencies in casting and the choice of repertoire. The scheduling was seen to be faulty as well as a work overload at times. There were a lack of clear aims and objectives. Some of the examination procedures were seen to be irrelevant and inconsistent.

Course aims and objectives

What do you think are the most important aims of an opera-training course? Why?

The general view was that it should be as intensive as possible, focusing on developing all-round skills, not just vocal development.

Has your view of the aims and objectives of opera training changed since graduating?

All realised that hard work was the key to success.

Design and Structure of the Course

At what age should students begin opera training at tertiary level?

The consensus was that 21 was appropriate.

How many years of opera training would be ideal? Why?

The view was that four years was a minimum which would include undergraduate training.

Should opera be taught at undergraduate level? Why?

Undergraduate training would be the period when the basis could be established for more specialisation in the postgraduate years.

What would be the best types of course experiences for undergraduate opera training.

A list in order of importance includes, voice training; performance opportunities; music skills; languages; acting and movement, encounters and observation of performances.

Should opera training be provided at postgraduate level? Why?

It was seen as an essential period where skills would be refined to a professional level.

What would be the best types of courses or experiences for graduate opera training?

The consensus was that all the skills developed in undergraduate years would be further developed. Most viewed performance opportunities as essential.

Has your view of the ideal opera course changed since graduating?

Most felt that the Con provided the basis of a good training but that financial constraints and poor organisation often hindered this.

Preparation for the profession

Do you feel this course has prepared you for professional work as an opera singer?

Most were positive about success of the course within its limitations. All felt that there needed to be more intensity in the approach to all the courses.

Interviews with prominent members of the profession

Summary

Outstanding vocal material was viewed as being fundamental to any career in opera. Language acquisition was essential, even before the study of diction. Musical skills such as the ability to sight sing and play the piano were regarded as essential.

The typical career path in Australia was that young singers would get work in the extra chorus, then full-time chorus. Then they would get some covers and gradually small roles until they established themselves as soloists.

The early to middle twenties were seen as crucial - this is the period of most intensive study when the voice begins to mature.

The extension of the mentorship aspect of the program was seen as offering a potentially useful contribution.

Biographical Note

Born in South Africa, Michael Halliwell studied music and literature at the University of the Witwatersrand in Johannesburg. While still a student, he sang several major roles for PACT Opera. He was awarded two scholarships to study at the London Opera Centre and with Otakar Kraus, as well as with Tito Gobbi in Florence. Principal baritone with the Netherlands Opera, 1977-1980; Hamburg State Opera, 1980-1982; Nürnberg Opera, 1982-1986; NAPAC, 1987-1994. Roles include Don Giovanni, Papageno, Count Almaviva, Gugliemo, Posa, Germont, Gianni Schicci, Ford, Escamillio and Billy Budd. Senior Lecturer in Vocal Studies and Opera at the Sydney Conservatorium of Music in 1996 and is currently Chair of Vocal Studies and Opera. He has presented masterclasses and concerts in Singapore, Kuala Lumpur, Hong Kong, Taipei and Cape Town. Awarded his Ph.D in 1995 for his study of the adaptation of fiction into contemporary opera. He has given papers on music and literature at international conferences in Australia, South Africa, the United States and Austria, and has published widely. A CD of Kipling settings, Soldier, Soldier, with David Miller, was released by Artworks in April 2001. A program of Boer War songs, Goodbye, Dolly Gray, will be released later in 2001.

2001 NACTMUS Conference