> if you undertake that self-study program you
> outlined, you may well have as
> good an education as a degreed person (with the
> caveat mentioned, that you
> might not know what was valuable to study on your
> own) but it may be harder to convince people.
Is this true? I had always assumed that the
determining factor was how well one sounds and
auditions, since opera is not a field in which you can
generally be hired on the strength of either your
degree or your resume -- they've got to hear you
first.
For my own part, I speak having gone to university in
a non-music field, now gathering skills on my own. I
prefer to study for three to four hours a week with my
private teacher, and gather the rest of the skills on
the side. I don't see the point of going through the
process of finding another teacher with her skill or
track record just for a second degree. (But, as you
know, I'm always eager to hear dissenting opinions.)
I'm always wondering what I'm missing, however, and
how I can recreate it on my own. I read books on
history, theory, criticism, biographies; I study
languages and roles; I take dance and Alexander
classes; I attend performances and concerts in the
city. What am I missing?
Two possibilities: peers and student performance
opportunities. How important is it to be surrounded
by peers when learning to sing? How important is it
to have a safe (i.e., out of the public eye)
performance space to test out one's yet-under-caliber
wings, and can this be reconstructed in regional
theater? And are there other things I should be
finding an equivalent for?
I am greatly appreciating the responses to this
question so far.
Isabelle B.
=====
Isabelle Bracamonte
San Francisco, CA
ibracamonte@y...
ibracamonte@y...
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