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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
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Alternative Paths for Singer Training
Jocelyn Dueck
Opera America Magazine

Another opening, another show! For most opera companies, regularly-scheduled mainstage performances are at the center of their activity. The rhythm of production influences all company operations, from marketing and fundraising cycles to the training and performing opportunities available for young singers. For companies that focus on new work, however, a regular mainstage season — with a set number of full productions in a fairly fixed schedule — is emphatically not the raison d’être. Instead, the public events offered in any given season vary according to the needs of the creative artists. With their orientation toward process rather than production, these companies provide a very different environment for singer training.

About the Author: Pianist Jocelyn Dueck is a founding member of Two Sides Sounding and music director for Ensemble Youkali, a New York City-based opera collective. A frequent performer of new works, she has debuted works by Lisa Bielawa, Corey Dargel, Louis Durey, Judd Greenstein, Daron Hagen, Edie Hill and Gilda Lyons.

Fall 2014 Magazine Issue
  • Are Women Different?
  • Preparing for Klinghoffer
  • Emerging Artists: Act One


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From 42nd Street/Times Square:
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The building is on the same block as the train stop.

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