New heights for Shepherd School Opera program
Opportunities abound at Rice for singers, musicians

BY JESSICA STARK
Rice News staff

Though its set has been struck from the stage of Alice Pratt Brown Hall’s Wortham Opera Theatre, the recent Shepherd School Opera production continues to sing volumes about a Rice University education.

“I love that I’m a part of Rice’s opera program,” said Brent Ryan, a first year graduate student. “With two fully staged productions each year, we have so many opportunities here to get up on the stage and perform. That experience is invaluable. A singer can practice and practice, but some of the greatest learning happens on the stage.”

	TED WASHINGTON
	The Shepherd School of Music paired its unparalleled chamber orchestra with its on-the-rise opera program for one-act productions of Gaetano Donizetti’s “Viva la Mamma!” (pictured above) and Richard Strauss’ “Ariadne auf Naxos.”

Ryan played Tanzmeister in this month’s production of Strauss’ “Ariadne auf Naxos.” It was a role that challenged him to transform his nervous excitement into the air of confidence that surrounds his self-assured, smooth character. He developed the persona throughout the rehearsal process but also credited the ability of his classmates for propelling him forward.

“From the first time that all of us singers sang for each other this fall, I was excited to be a part of this program,” he said. “Being a part of a high-level program such as the one here at Rice encourages us to be better artists. For instance, if you play basketball with people who are far worse than you, you will not push yourself to play well. However, if you play with people that are better than you, you will push yourself to levels you thought were unattainable.”

The Shepherd School itself is pushing itself to new heights. Already world-renowned for its orchestral training program, it is gaining distinction for its emerging opera program. Under the leadership of Richard Bado, director of opera studies, the program has grown in size and scope but remained intimate, enrolling only 36 singers per year. The design ensures each singer receives individual attention.

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“I believe that the faculty and programs here are designed to equip you with the most tools and experiences upon which you can build as a musician,” Ryan said. “The Shepherd School makes sure that each student’s needs are individually met and that the student’s potential as an artist is realized.”

It’s not only the students who appreciate the opportunities for close interactions and individualized lessons. The instructors in the Shepherd School enjoy getting to know each student and helping them launch successful careers. In the opera program, that means encouraging students to stretch their imaginations while employing sharp technical skills.

“Our students are very imaginative and willing to let their hair down,” said Debra Dickinson, artist teacher of opera studies. “Creating the characters and discovering the well-timed action is always a great process. The best part for me as a teacher is watching how much the students progress from project to project. It’s a real thrill to see some of the vast improvements that happen in a year.”

In her role as director of the fall productions of “Ariadne auf Naxos” and Gaetano Donizetti’s “Viva la Mamma!”, Dickinson was a case study of sorts for her students. Both operas are set backstage of an opera production and deal with the eccentricities of opera singers, composers, producers and, yes, directors.

“Debbie allowed me and the other characters to explore,” Ryan said. “She would sketch an outline of direction and let us play and experiment, going off our natural impulses of the character and adding on layers.”

Working those characters into the music can present its own challenges for both the singers and the orchestra. Under the baton of Bado and Cristian Măcelaru, staff conductor, the students navigated those obstacles and added to their own skill sets.

“For our first dress rehearsal, one of our cast members was feeling ‘under voice’ and couldn’t sing,” Măcelaru said. “It’s unfortunate, but these things happen all the time. All the sudden you have a main solo character who you don’t hear at all. The voice you’ve been following, clinging to, it’s gone. So what do you do? You still have to play.”

Those types of foibles made it especially fun to present the recent “backstage” operas, said Măcelaru, who also lent his talents to the Visual and Dramatic Arts Department for its production of “The Threepenny Opera.”

“Sure things go wrong, but the feeling here isn’t so much about pressure as it is excitement,” he said. “Everyone is really good. The orchestra, of course, is the best there is. There aren’t enough superlatives to describe the Shepherd School. I could give you a list, but it wouldn’t do it justice.

“It’s a one of a kind program. Every student gets the opportunity and chance to feel like an important individual. Because of the way the faculty interacts and collaborates, it keeps the school together as a family in a way that doesn’t have anything destructive in it.”