Page 65 - Classical Singer magazine 2019 Fall University Issue
P. 65

Armed with knowledge about what you are performing, you will also bene t from training in how to give your best performance. Acting classes are an indispensable asset to the singing career. Dance doesn’t hurt, either, or courses in physical awareness like Alexander Technique. During your college years you will have access to experts in so many  elds. Developing those extra skills can set you apart.
Look outside the Classroom
If there is something that your school doesn’t o er, you can still learn about it. This will be great training for when you are out of school and must seek out your own opportunities for continuing ed!
For example, most singers and teachers mentioned some knowledge of personal  nance when asked about what young singers should know. But most intro to  nance classes in a university setting aren’t geared toward someone just trying to learn more about how to be an entrepreneur. Maybe your dorm will sponsor a speaker
or a local group will have a workshop. If you hear about something like this, go! And if you don’t, get to a library and  nd a book on it, or a podcast, or a YouTube series.
If you want to increase your foreign language skills, join a conversation group or use a learning app to build on what you have learned in your classes. Work on public speaking through Toastmasters. Join an improv club to work on  exibility onstage. Go to every masterclass you can, whether you are singing or not, to soak up all the information that the clinicians are o ering.
Your interests, background, and setting are going to make your roadmap to graduation di erent from anyone else’s, but all successful students have one thing in common: they do more than the bare minimum. Try new things, exceed the requirements, show up to workshops, and  gure out what you love and dig deeply into that. Yes, all these things will make you a stronger artist, but they will also make you a more interesting person with even more insight and personality to share through your art.
Margaret F elice is a soprano, writer, choral conductor,
and educator living in Boston. She has sung principal roles in Carmen, The Magic Flute, The Marriage of Figaro, Don Giovanni, Suor Angelica, The Crucible, and other operatic and theatrical productions. She is executive director of Boston Singers’ R esource. R ead more, hear her sing, or contact her at
Voice and Opera Faculty Julia Broxholm, soprano Joyce Castle, mezzo-soprano Roberta Gumbel, soprano Genaro Méndez, tenor
John Stephens, bass
Mark Ferrell, director of opera activities Carolyn Watson, director of orchestral activities Paul Tucker, director of choral activities
Degrees for Voice:
BM, BA, BFA, MM-Voice, MM-Opera, DMA, PhD BME and MME: Music Education and Music Therapy
Application Priority Deadline Undergraduates - November 1 Graduates - December 1 Auditions in February
Apply and Audition: 65

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