Page 39 - Classical Singer Magazine November/December 2019

from ticket sales. It’s a ecting what companies can program and ultimately pay.
“When I set out to get my master’s degree, the recession of 2008 hit,” he says. “Naturally, as a young singer, you gravitate to the Young Artist Programs and smaller companies. What happened, though, was that singers in the bigger jobs were getting forced down due to budgets, which squeezed out many trying to get their starts. I found that the art side of opera fed my soul, but the business side wasn’t doing anything for my nances. I decided to explore the possibilities.”
Although Peterson and his wife relocated to Denver and took up teaching, that realization was further met with the loss of his sister to cancer.
“In that moment, I wasn’t able to help my family nancially during a time when they needed it the most,” Peterson says. “That changed my outlook. For me, I knew I needed another direction. As I got older, law was something that became increasingly interesting to me. And what it really came down to was doing something that I thought could help people and provide for my family in a way that opera hadn’t been able to do.”
Though committed to his law studies, Peterson continues to perform as he is able.
“If my schedule allows and it’s something that’s feasible, I do it,” Peterson says.
When it comes to honing his craft and keeping his vocal chops in shape, Peterson says he’s at a place in his singing where a little ne-tuning is what’s necessary.
“There comes a time with age and experience where the technique is like second nature,” Peterson says. “I
no longer have to spend two hours a day in the practice room the way we all did during undergrad. It’s more about tuning things here and there, keeping the voice on the breath and keeping the breath low. That hasn’t gone away. Of course, when it comes to score study, time is always needed to get the role in the voice.”
Although his perspective on the business of singing has changed, Peterson still loves the process and the art. He recommends that singers coming into opera today treat themselves like a business, learn to do their taxes, and to set their sights on creating meaningful work rather than padding their pocketbooks. The latter, he says, can be di cult to do.
“It’s always great and refreshing connecting with a cast and with a character,” he says. “Opera is beautiful. It’s thrilling and alive and moving and touches people.”
MUSIC at UNIVERSITY OF PORTLAND BRING YOUR TALENT. YOUR PASSION. YOUR RAINCOAT.
UP Student, Madeleine Tran in masterclass with Susan Graham. Photo – John Green
Located in the arts-rich city of Portland, our nationally-accredited music program o ers personal attention from our seven artist-teachers with degrees from The Royal Academy of Music, Yale University, Academy of Vocal Arts, Manhattan School of Music and Shenandoah Conservatory.
UP students engage in performance opportunities within Portland and beyond including Portland Opera, Broadway Rose Theater (Portland), Mock’s Crest Opera (Portland), Music in the Marche (Mondavio, Italy), Miami Summer Music Festival, Atlantic Music Festival and Halifax Opera.
2020 LIVE AUDITION DATES
FOR ENTRANCE AND SCHOLARSHIPS
Sunday, February 9, UP campus • Saturday, February 15, UP campus
Sunday, February 23, Seattle area *Video auditions also accepted
LEARN MORE ABOUT US AT:
college.up.edu/pfa/music-program/vocal-study
up.edu/music | UPMUSIC@up.edu
www.csmusic.net 39