to tonight`s program

EMERGING ARTIST
RECITAL SERIES
PRESENTS
2014 MARILYN HORNE
SONG COMPETITION
WINNERS
The National Opera Center
Wednesday, May 20, 2015 | 7:00 p.m.
Michelle Bradley, soprano
Michael Gaertner, piano
THE NATIONAL OPERA CENTER
AMERICA
OPERA AMERICA’S
PROGRAM
Michelle Bradley, soprano
Michael Gaertner, piano
Ah! Perfido
LUDWIG VAN BEETHOVEN (1770–1827)
La vie antérieure
HENRI DUPARC (1848–1933)
Au cimetière
GABRIEL FAURÉ (1845–1924)
Notre amour
Les chemins de l’amour
FRANCIS POULENC (1899–1963)
Chère nuit
ALFRED BACHELET (1864–1944)
INTERMISSION
Ständchen
Freundliche Vision
Ich trage meine Minne
RICHARD STRAUSS (1864–1949)
Cäcilie
Five Songs of Laurence Hope
H.T. BURLEIGH (1866–1949)
Worth While
The Jungle Flower
Kashmiri Song
Among the Fuchsias
Till I Wake
Give Me Jesus
ARR. H.T. BURLEIGH
He’s Got the Whole World in His Hands
ARR. MARGARET BONDS (1913–1972)
The Emerging Artist Recital Series is generously supported by the Howard Gilman Foundation
and the New York City Department of Cultural Affairs.
ABOUT THE ARTISTS
Born in Versailles, KY, Michelle Bradley is a graduate of Kentucky State Univeristy
and Bowling Green State University. She currently resides in Houston, TX, where she
studies privately with Lois Alba. The recipient of a Houston Ebony Opera Guild
Encouragement Award, Bradley won the Lois Alba Aria Competition in 2011, and
she recently earned third prize in the 2014 Gerda Lissner International Vocal
Competition. In December 2013, she placed third and received the Audience Choice
Award at the Palm Springs Opera Guild of the Desert Vocal Competition. Bradley
made her New York debut as Fiordiligi in Così fan tutte with Opera Ebony last
October, and in April she will sing the title role in Puccini’s Suor Angelica in a production by Lois Alba
and the Soma International Foundation.
A rising and sought-after collaborator and coach, Michael Gaertner is currently the
resident pianist at Shreveport Opera, where his duties include serving as chorus
master for the company’s productions, as well as for concert performances and
outreach programs throughout Texas, Louisiana and Arkansas. Born in Pittsburgh,
PA, Gaertner recently graduated from the University of Michigan with a master’s
degree in collaborative piano. He earned a bachelor’s degree in piano performance,
with a collaborative emphasis, at Ithaca College, where he received the Mary Hayes
North Piano Competition Award and was a finalist in the college’s annual concerto
competition. His teachers have included Martin Katz, Warren Jones, Kenneth Merrill, Jennifer Hayghe
and Charis Dimaras, and he has performed in master classes for Eric Owens, Deborah Voigt and
Marilyn Horne.
About the Marilyn Horne Song Competition
One of the most popular events of the summer season at the Music Academy of the West, the
Marilyn Horne Song Competition is a showcase for Academy singers and vocal pianists. Top awards,
presented in memory of longtime Music Academy vocal accompaniment faculty member Gwendolyn
Koldofsky, are given to the Academy singer and vocal pianist who demonstrate both excellence in
the performance of song repertoire and an exceptional gift for audience communication. Winners
receive full underwriting from the Music Academy for recital appearances, cash awards of $2,500
and individual consultations with New York-based communications firm 21C Media Group. The
competition regularly attracts industry insiders eager for a glimpse of emerging talent.
Previous winners of the competition have included baritone John Brancy and pianist Mario Antonio Marra
(2013); soprano Tracy Cox and pianist Maureen Zoltek (2012); soprano Karen Vuong and pianist Saule
Tlenchiyeva (2011); soprano Megan Hart and pianist Sun Ha “Sunny” Yoon (2010); mezzo-soprano Ronnita
Miller, tenor Jeffrey Hill and pianist Lio Kuokman (2009); soprano Simone Osborne, baritone Edward Parks
and pianist In-Sun Suh (2008); soprano Nadine Sierra and pianist Karen Kyung-Eun Na (2007); baritone
Evan Hughes (2006); soprano Elaine Alvarez, mezzo-soprano Isabel Leonard and pianist Tamara Sanikidze
(2005); mezzo-soprano Daniela Lehner and pianist Marie-Ève Scarfone (2004); mezzo-soprano Megan
Latham and pianist Carol Wong (2003); mezzo-soprano Deborah Domanski and pianist Jerome Tan (2002);
tenor Ramon Diggs and pianist Nino Sanikidze (2001); baritone Nicolai Janitzky, mezzo-soprano Liesel
Fedkenheuer, and pianists Ji Young Lee and Spencer Myer (2000).
About the Music Academy of the West
Founded in 1947, the Music Academy of the West is among the nation’s preeminent summer
schools and festivals for gifted young classical musicians. The Academy provides these promising
musicians with the opportunity for advanced study and frequent performance under the guidance of
internationally renowned faculty artists, guest conductors and soloists. Admission to the Academy is
strictly merit-based, and fellows receive full scholarships (tuition, room and board). Academy alumni
are members of major symphony orchestras, chamber orchestras, ensembles, opera companies,
and university and conservatory faculties throughout the world. Many enjoy careers as prominent
solo artists. Based in Santa Barbara, CA, the Music Academy of the West presents more than 200
public events annually, including performances by faculty, visiting artists and fellows; master
classes; orchestra and chamber music concerts; and fully staged opera. The Music Academy began
broadcasting live, high-definition simulcasts by the world-renowned Metropolitan Opera at Hahn Hall
in October 2008. For more information, visit musicacademy.org.
Emerging Artist Recital Series
These recitals reflect the joint efforts of OPERA America and its member companies to identify and
nurture the careers of the most promising young artists. Each recital hosts emerging singers and
pianists at the National Opera Center’s Marc A. Scorca Hall. The concerts are streamed live to opera
companies around the world, introducing these artists to a broad community of producers and other
casting professionals who can help advance their careers, as well as to a worldwide public interested
in tracking the accomplishments of aspiring artists who have achieved success through competitions
and young artist programs. The recitals reach a growing audience through live streams from the
National Opera Center. OPERA America’s recent live streams have each attracted between 10,000 and
20,000 viewers worldwide. For more information about OPERA America’s Emerging Artist Recital Series,
please contact Laura Lee Everett, director of artistic services, at LEverett@operaamerica.org.
SONG TRANSLATIONS
Ah! Perfido
Ah! Perfido, spergiuro,
Barbaro traditor, tu parti?
E son questi gl’ultimi tuoi congedi?
Ove s’intese tirannia più crudel?
Va, scellerato! Va, pur fuggi da me,
L’ira de’ numi non fuggirai.
Se v’è giustizia in ciel, se v’è pietà,
Congiureranno a gara tutti a punirti!
Ombra seguace, presente, ovunque vai,
Vedrò le mie vendette,
Io già le godo immaginando.
I fulmini ti veggo già balenar d’intorno.
Ah no! Fermate, vindici Dei!
Risparmiate quel cor, ferite il mio!
S’ei non è più qual era, son io qual fui,
Per lui vivea, voglio morir per lui!
Ah! You treacherous, faithless,
barbaric traitor, you leave?
And is this your last farewell?
Where did one hear of a crueler tyranny?
Go, despicable man! Go, flee from me!
You won’t flee from the wrath of the gods.
If there is justice in heaven, if there is pity,
all will join forces in a contest to punish you.
I follow your trail! I am wherever you go,
I will live to see my revenge,
I already take my delight in it in my imagination.
I already see you surrounded by flashes of lightning.
Alas! Pause, avenging gods!
Spare that heart, wound mine!
If he is not what he was, I am still what I was.
For him I lived, for him I want to die!
Per pietà, non dirmi addio!
Di te priva che farò?
Tu lo sai, bell’idol mio!
Io d’affanno morirò.
Have mercy, don’t bid me farewell,
what shall I do without you?
You know it, my beloved idol!
I will die of grief.
Ah crudel! Tu vuoi ch’io mora!
Tu non hai pietà di me?
Perchè rendi a chi t’adora
Così barbara mercè?
Dite voi se in tanto affanno
Non son degna di pietà?
Ah, cruel man! You want me to die!
Don’t you have pity on me?
Why do you reward the one who adores you
in such a barbaric way?
Tell me, if in such a grief
I do not deserve pity?
La vie antérieure
Text by Charles Baudelaire
Music by Henri Duparc
My Former Life
Text by Charles Baudelaire
Music by Henri Duparc
J’ai longtemps habité sous de vastes portiques
Que les soleils marins teignaient de mille feux,
Et que leurs grands piliers, droits et majestueux,
Rendaient pareils, le soir, aux grottes basaltiques.
Les houles, en roulant les images des cieux,
Mêlaient d’une façon solennelle et mystique
Les tout-puissants accords de leur riche musique
Aux couleurs du couchant reflété par mes yeux.
C’est là que j’ai vécu dans les voluptés calmes,
Au milieu de l’azur, des vagues, des splendeurs
Et des esclaves nus, tout imprégnés d’odeurs,
Qui me rafraîchissaient le front avec des palmes,
Et don’t l’unique soin était d’approfondir
Le secret douloureux qui me faisait languir.
For a long time I dwelt under vast porticos
Which the ocean suns lit with a thousand colors,
The pillars of which, tall, straight, and majestic,
Made them, in the evening, like basaltic grottos.
The billows which cradled the image of the sky
Mingled, in a solemn, mystical way,
The omnipotent chords of their rich harmonies
With the sunsets’ colors reflected in my eyes;
It was there that I lived in voluptuous calm,
In splendor, between the azure and the sea,
And I was attended by slaves, naked, perfumed,
Who fanned my brow with fronds of palms
And whose sole task it was to fathom
The dolorous secret that made me pine away.
Au cimetière
Text by Jean Richepin
Music by Gabriel Fauré
At the Cemetery
Text by Jean Richepin
Music by Gabriel Fauré
Heureux qui meurt ici,
Ainsi que les oiseaux des champs!
Son corps, près des amis,
Est mis dans l’herbe et dans les chants.
Il dort d’un bon sommeil vermeil,
Sous le ciel radieux.
Tous ceux qu’il a connus, venus,
Lui font de longs adieux.
Happy who dies here,
Like the birds of the field!
His body, near his friends,
Is laid in the earth, and among the songs.
He sleeps a good vermillion slumber
Under the radiant sky.
All those he had known, are come
To bid him a long farewell.
À sa croix les parents pleurants,
Restent a genouillés,
Et ses os, sous les fleurs, de pleurs
Sont doucement mouillés
Chacun sur le bois noir,
Peut voir s’il était jeune ou non,
Et peut, avec de vrais regrets.
L’appeler par son nom,
At his cross his parents weep,
Resting on their knees,
And his bones, underneath the flowers
Are gently bathed in tears
Each one on the black wood,
Can see whether he was young or not,
And can, with sincere regrets
Call him by his name.
Combien plus malchanceux
Sont ceux qui meurent à la mé,
Et sous le flot profond
S’en vont loin du pays aimé!
Ah! pauvres! qui pour seul linceuls
Ont les goëmons verts,
Où l’on roule inconnu, tout nu,
Et les yeux grands ouverts!
How many unlucky ones are there
Who die at sea,
And lie under the deep waves
A long way from their beloved country!
Ah! poor souls! who for their shrouds
Have green seaweeds,
Where they roll unknown, quite naked,
And their eyes wide open!
Notre amour
Text by Armand Silvestre
Music by Gabriel Fauré
Our Love
Text by Armand Silvestre
Music by Gabriel Fauré
Notre amour est chose légère
Comme les parfums que le vent
Prend aux cimes de la fougère
Pour qu’on les respire en rêvant.
- Notre amour est chose légère!
Our love is something light
like the perfumes which the breeze
brings from the tips of ferns
for us to inhale as we dream.
Our love is something light.
Notre amour est chose charmante,
Comme les chansons du matin
Où nul regret ne se lamente,
Où vibre un espoir incertain.
- Notre amour est chose charmante!
Our love is something enchanting
like the morning’s songs
in which regrets are not heard
but uncertain hopes vibrate.
Our love is something charming.
Notre amour est chose sacrée
Comme les mystères des bois
Où tressaille une âme ignorée,
Où les silences ont des voix.
-Notre amour est chose sacrée!
Our love is something sacred
like the forests’ mysteries
in which an unknown soul quivers
and silences have voices.
Our love is something sacred!
Notre amour est chose infinie,
Comme les chemins des couchants
Où la mer, aux cieux réunie,
S’endort sous les soleils penchants.
Our love is something infinite
like the paths of the evening,
where the ocean, joined with the sky, falls asleep
under slanting suns.
Notre amour est chose éternelle
Comme tout ce qu’un dieu vainqueur
A touché du feu de son aile,
Comme tout ce qui vient du coeur,
- Notre amour est chose éternelle!
Our love is something eternal
like all that has been touched
by the fiery wing of a victorious god,
like all that comes from the heart.
Our love is something eternal!
Les chemins de l’amour
Text by Jean Anouilh
Music by Francis Poulenc
The Paths of Love
Text by Jean Anouilh
Music by Francis Poulenc
Les chemins qui vont à la mer
Ont gardé de notre passage
Des fleurs, des feuilles et l’écho
sous leurs arbres
De nos deux rires clairs.
Hélas, des jours de bonheur,
Radieuses joies envolées,
Je vais sans retrouver traces
dans mon coeur.
Chemins de mon amour,
Je vous cherche toujours.
Chemins perdus vous n’êtes plus
Et vos échos sont sourds.
Chemins du désespoir,
Chemins du souvenir,
Chemins du premier jour,
Divins chemins d’amour.
Si je dois l’oublier un jour,
La vie effaçant toute chose,
Je veux dans mon coeur qu’un souvenir
Repose plus fort que l’autre amour.
Le souvenir du chemin,
Où tremblante
et toute éperdue,
Un jour j’ai senti sur moi
brûler tes mains
Chemins de mon amour,
Je vous cherche toujours.
Chemins perdus,
Vous n’êtes plus
Et vos échos sont sourds.
Chemins du désespoir,
Chemins du souvenir
Chemins du premier jour,
Divins chemins d’amour.
The paths that arch of the ocean
protect our crossing,
flowers losing their leaves and the echo
under the trees,
Our two bright laughs.
Alas, from days of happiness
radiant joys take flight,
I journey without recovering your traces
in my heart.
Paths of my love
I try to find you always
lost paths, you don’t exist anymore,
And your echoes have been muffled.
Paths of despair,
Paths of memory,
Paths of first love,
Divine pathways of love.
This I am duty-bound to forget one day
the way that life obliterates all things.
I want in my heart that a memory will rest
More strongly than another love.
The memory of paths
Where trembling
and completely passionate,
a day I have felt above myself
to burn and be consumed by your hands.
Chère nuit
Text by Eugène Adénis-Colombeau
Music by Alfred Bachelet
Beloved Night
Text by Eugène Adénis-Colombeau
Music by Alfred Bachelet
Voici l’heure bientôt. Derrière la colline
je vois le soleil qui décline
Et cache ses rayons jaloux ...
J’entends chanter l’âme des choses
Et les narcisses et les roses
M’apportent des parfums plus doux!
Chére nuit aux clartés sereines
Toi que ramènes le tendre amant
Ah! descends et voile la terre
De ton mystère calme et charmant.
Mon bonheur renaît sous ton aile
O nuit plus belle que les beaux jours:
Ah! lève-toi pour faire encore
Briller l’aurore de mes amours?
Soon the hour will be here. Behind the hill
I see the sun that goes down
and jealously hides its rays.
I hear the soul of things singing,
and the narcissuses and roses
send me the sweetest perfumes!
Beloved night of serene radiance,
you who bring back my tender lover,
ah, come down and veil the earth
with your calm and charming mystery.
My happiness is reborn under your wings,
o night, more beautiful than any days are:
ah, arise and again make
the dawn of my love shine forth!
Ständchen
Text by Adolf Friedrich von Schack
Music by Richard Strauss
Serenade
Text by Adolf Friedrich von Schack
Music by Richard Strauss
Mach auf, mach auf, doch leise mein Kind,
Um keinen vom Schlummer zu wecken.
Kaum murmelt der Bach, kaum zittert im Wind
Ein Blatt an den Büschen und Hecken.
Drum leise, mein Mädchen, dass nichts sich regt,
Nur leise die Hand auf die Klinke gelegt.
Open up, open up, but softly my child,
So as not to wake anyone from their sleep,
The stream is barely murmuring, the wind hardly
causes quivers In a leaf on bush or hedge.
So, softly, my young girl, so that nothing stirs,
Just lay your hand softly on the door-latch.
Mit Tritten, wie Tritte der Elfen so sacht,
Die über die Blumen hüpfen,
Flieg leicht hinaus in die Mondscheinnacht,
Zu mir in den Garten zu schlüpfen.
Rings schlummern die Blüten
am rieselnden Bach
Und duften im Schlaf, nur die Liebe ist wach.
With steps as soft as the footsteps of elves,
that hop over the flowers,
Fly lightly out into the moonlit night,
Sneak to me in the garden.
Around us sleeps the blossoms
along the trickling stream,
Fragrant in sleep, only love is awake.
Sitz nieder, hier dämmert’s geheimnisvoll
Unter den Lindenbäumen,
Die Nachtigall uns zu Häupten soll
Von unseren Küssen träumen,
Und die Rose, wenn sie am Morgen erwacht,
Hoch glühn von den Wonnenschauern der Nacht.
Sit down, here it darkens mysteriously
Beneath the linden trees,
The nightingale over our heads
Shall dream of our kisses,
And the rose, when it wakes in the morning,
Shall glow from the joyous showers of the night.
Freundliche Vision
Text by Otto Julius Bierbaum
Music by Richard Strauss
A Pleasant Vision
Text by Otto Julius Bierbaum
Music by Richard Strauss
Nicht im Schlafe hab’ ich das geträumt,
Hell am Tage sah ich’s schön vor mir:
Eine Wiese voller Margeritten;
Tief ein weisses Haus in grünen Büschen;
Götterbilder leuchten aus dem Laube.
Und ich geh’ mit Einer, die mich lieb hat,
Ruhigen Gemütes in die Kühle
Dieses weißen Hauses, in den Frieden,
Der voll Schönheit wartet, dass wir kommen.
I did not dream this while asleep;
I saw it fair before me in the light of day:
A meadow full of daisies,
a white house deep in green bushes,
images of gods gleaming from the leaves.
And I walk with one who loves me,
in a peaceful mood in the coolness
of this white house, in which peace
awaits our arrival, full of beauty.
Ich trage meine Minne
Text by Karl Friedrich Henckell
Music by Richard Strauss
I Carry My Love
Text by Karl Friedrich Henckell
Music by Richard Strauss
Ich trage meine Minne
vor Wonne stumm
im Herzen und im Sinne
mit mir herum.
Ja, dass ich dich gefunden,
du liebes Kind,
das freut mich alle Tage,
die mir beschieden sind.
I carry my love
mute with delight,
in my heart and in my mind
with me wherever.
Yes, that I have found you,
you beloved child,
that makes me joyful every day,
and that is granted to me.
Und ob auch der Himmel trübe,
kohlschwarz die Nacht,
hell leuchtet meiner Liebe
goldsonnige Pracht.
Und liegt auch die Welt in Sünden,
so tut mir’s weh,
die arge muss erblinden
vor deiner Unschuld Schnee.
And no matter if the sky is gloomy,
coal-black the night,
brightly shines my love’s
gold-shining splendor.
And even as the world lies through its sinfulness,
and I am heavy-hearted,
the evil must become blind
from your snowy innocence.
Cäcilie
Text by Heinrich Hart
Music by Richard Strauss
Cecily
Text by Heinrich Hart
Music by Richard Strauss
Wenn du es wüsstest
Was träumen heisst von brennenden Küssen,
Von Wandern und Ruhen mit der Geliebten,
Aug in Auge,
Und kosend und plaudernd,
Wenn du es wüsstest ,
Du neigtest dein Herz!
If you only knew
what it’s like to dream of burning kisses,
of wandering and resting with one’s beloved,
eye turned to eye,
and cuddling and chatting —
if you only knew,
you would incline your heart to me!
Wenn du es wüsstest
Was bangen heisst in einsamen Nächten,
Umschauert vom Sturm, da niemand tröstet
Milden Mundes die kampfmüde Seele,
Wenn du es wüsstest
Du kämest zu mir.
If you only knew
what it’s like to feel dread on lonely nights,
surrounded by a raging storm,
while no one comforts
with a mild voice your struggle-weary soul
if you only knew,
you would come to me.
Wenn du es wüsstest
Was leben heisst, umhaucht von der Gottheit
Weltschaffendem Atem,
Zu schweben empor, lichtgetragen,
Zu seligen Höhn
Wenn du es wüsstest
Du lebtest mit mir!
If you only knew
what it’s like to live, surrounded by God’s
world-creating breath,
to float up, carried by the light,
to blessed heights —
if you only knew,
then you would live with me!
Five Songs of Laurence Hope
Text by Adela Florence Nicolson (pseudonym: Laurence Hope)
Music by H.T. Burleigh
1. Worth While
I asked of my desolate shipwrecked soul
“Wouldst thou rather never have met
The one whom thou lovedst beyond control
And whom thou adorest yet?”
Back from the senses, the heart, the brain,
Came the answer swiftly thrown,
“What matter the price? We would pay it again,
We have had, we have loved, we have known!”
2. The Jungle Flower
Thou art one of the jungle flowers, strange and fierce and fair,
Palest amber, perfect lines, and scented with champa flower.
Lie back and frame thy face in the gloom of thy loosened hair;
Sweet thou art and loved — ay, loved — for an hour.
But thought flies far, ah, far, to another breast,
Whose whiteness breaks to the rose of a twin pink flower,
Where wind the azure veins that my lips caressed
When Fate was gentle to me for a too-brief hour.
There is my spirit’s home and my soul’s abode,
The rest are only inns on the traveller’s road.
3. Kashmiri Song
Pale hands I loved beside the Shalimar,
Where are you now? [Who lies beneath your spell?]
Whom do you lead on Rapture’s roadway, far,
Before you agonise them in farewell?
Oh, pale dispensers of my Joys and Pains,
Holding the doors of Heaven and of Hell,
How the hot blood rushed wildly through the veins
Beneath your touch, until you waved farewell.
Pale hands, pink tipped, like Lotus buds that float
On those cool waters where we used to dwell,
I would have rather felt you round my throat,
Crushing out life, than waving me farewell!
4. Among the Fuchsias
Call me not to a secret place
when daylight dies away,
tempt me not with thine eager face
and words thou shouldst not say.
Entice me not with a child of thine,
ah, God, if such might be,
for surely a man is half divine
who adds another link to the line
whose last link none may see.
Call me not to the Lotus lake
where drooping fuchsias hide,
what if my latent youth awakes
and will not be denied?
Ah, tempt me not for I am not strong
(thy mouth is a budded kiss)
My days are empty, my nights are long;
ah, why is a thing so sweet so wrong,
why is a thing so sweet so wrong
as thy temptation is?
5. Till I Wake
When I am dying, lean over me tenderly, softly...
Stoop, as the yellow roses droop
In the wind from the south;
So I may when I wake — if there be an awakening –
Keep what lulled me to sleep —
The touch of your lips on my mouth.
Give Me Jesus
Arranged by H.T. Burleigh
He’s Got the Whole World in His Hands
Arranged by Margaret Bonds
O when I come to die
O when I come to die
O when I come to die
Give me Jesus
He’s got the whole world in His hand,
He’s got the whole world in His hand,
He’s got the whole world in His hand,
Give me Jesus
Give me Jesus
You may have all dis worl’
Give me Jesus
Dark midnight was my cry
Dark midnight was my cry
Dark midnight was my cry
Give me Jesus
Give me Jesus
Give me Jesus
You may have all dis worl’
Give me Jesus
He’s got the wood and the waters in His hand,
He’s got the wood and the waters in His hand,
He’s got the sun and the moon right in His hand,
He’s got the whole world in His hand.
He’s got the birds and the bees right in His hand,
He’s got the birds and the bees right in His hand,
He’s got the beasts of the field right in His hand,
He’s got the whole world in His hand.
He’s got you and me right in His hand,
He’s got you and me right in His hand,
He’s got everybody in His hand,
He’s got the whole world in His hand,
He’s got the whole world in His hand.
© 1963
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season. Each attendee will have the opportunity to take headshots, make a recording, perform an
audition, build a new website and improve his or her resume. Plus, attend seminars with experts
speaking on a wide range of topics — from audition etiquette and attire to personal branding and
the business of being a professional singer. Visit operaamerica.org/CareerBlueprints for pricing and
registration information.
FEEDBACK AUDITIONS
Wednesday, September 23
These special auditions offer singers an opportunity to perform their audition repertoire and receive
constructive feedback from a panel of industry professionals, including stage directors, coaches,
management representatives and artistic directors. Each participant receives a digital video recording
of their 20-minute audition, including the verbal feedback given by the panel. This program is made
possible, in part, by generous support from the Howard Gilman Foundation and the Patricia Scimeca
Fund for Emerging Singers. $75 for members and $100 for non-members.
Visit operaamerica.org/Feedback to register and view additional dates.
Speak to an OPERA America staff member if you have questions about any of our events or if you are
interested in becoming a member.