In a message dated 11/22/00 10:47:10 AM, annabelleq@y... writes:
<< Since I am happy with my teacher and my progress, I wonder if I should go to conservatory at all. I am thinking of taking that money and putting it into private lessons and classes instead.>>
A really, really, really good teacher is hard to find. I personally would be extremely reluctant to abandon a highly productive working relationship with a teacher who knows you and your voice, and what you both need.
My teacher (whose name I will provide privately if you are interested) is teaching quite a few promising young singers who are enrolled in conservatories for a degree, but not as voice majors. Conservatories can be factories, where you are just a cog in a big machine. She saw more than a few young singers enter conservatories in good shape, only to be damaged by the machine. Obviously this doesn't happen to all conservatory students, but it happens.
Conservatories have their own objectives, which may not fit well with yours. If you are considering one, take great care to determine whether your goals will be well served.
<<Is this a stupid idea? What can a school like Juilliard or Eastman give me that I couldn't get just studying by myself?>>
A piece of paper that has a degree. A certain amount of prestige, maybe some contacts. For A LOT of money (and time).
<<People say performing experience. There are many small companies to get performing experience with here in California. >>
You can also make your own experiences. Get a church job. Join music clubs. Sing at ball parks or supermarket openings, civic events or anywhere they'll let you. Sing at retirement homes and hospitals. If you're good, the word will get around, and other opportunities will come your way.
<<So I'm in a dilemma. My teacher leaves it up to me. Advice? >>
Think long and hard about what you really, really, really want. Is it a degree, or a career? The first in no way guarantees the second, although it can help. An advanced degree is more helpful, but I see plenty of working singers without one. In my experience, conductors and agents only care whether you can deliver the goods vocally.
Judy
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