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‘Aussie Wildcard’ at the Merola Opera Program
Katharine Tier
Young Sydney singer Katharine Tier is brimming over with her experience as a participant in the Merola Program, an intense eleven-week training program for young opera singers held in San Francisco each northern summer. It is an often hilarious account of a program that has no remote equivalent in Australia. Read, and envy. And then consider what we might do about it.
This is a sample article from Music Forum Magazine
‘Aussie Wildcard’ at the Merola Opera Program
Katharine Tier
Young Sydney singer Katharine Tier is brimming over with her experience as a participant in the Merola Program, an intense eleven-week training program for young opera singers held in San Francisco each northern summer. It is an often hilarious account of a program that has no remote equivalent in Australia. Read, and envy. And then consider what we might do about it.
This is a sample article from Music Forum Magazine
Drepturi de autor:
Attribution Non-Commercial (BY-NC)
Formate disponibile
Descărcați ca PDF, TXT sau citiți online pe Scribd
‘Aussie Wildcard’ at the Merola Opera Program
Katharine Tier
Young Sydney singer Katharine Tier is brimming over with her experience as a participant in the Merola Program, an intense eleven-week training program for young opera singers held in San Francisco each northern summer. It is an often hilarious account of a program that has no remote equivalent in Australia. Read, and envy. And then consider what we might do about it.
This is a sample article from Music Forum Magazine
Drepturi de autor:
Attribution Non-Commercial (BY-NC)
Formate disponibile
Descărcați ca PDF, TXT sau citiți online pe Scribd
Young
Sydney
singer
Katharine
Tier
is
brimming
over
with
her
experience
as
a
participant
in
the
Merola
Program,
an
intense
eleven-week
training
program
for
young
opera
singers
held
in
San
Francisco
each
northern
summer.
It
is
an
often
hilarious
account
of
a
program
that
has
no
remote
equivalent
in
Australia.
Read,
and
envy.
And
then
consider
what
we
might
do
about
it.
My
contact
with
the
Merola
Program
began
in
earnest
in
November
of
2005.
I
had
been
selected
as
a
finalist
in
the
Neue
Stimmen
international
singing
competition
in
Germany.
Before
leaving
Sydney,
I
searched
for
all
the
international
programs
for
which
I
would
be
able
to
audition
whilst
overseas.
The
Merola
Program
won
first
place
on
my
list.
It
has
a
reputation
(50
years
in
2007)
for
providing
a
level
of
excellence
in
operatic
training
that
was
scarcely
rivalled
anywhere
else
in
the
world.
I
duly
sent
in
my
application
and
was
delighted
to
receive
an
email
informing
me
that
my
application
was
successful
and
I
was
scheduled
to
audition
in
Manhattan
last
November.
The
audition
panel
for
the
Merola
program
tours
the
USA,
auditioning
prospective
candidates.
My
first
round
audition
was
the
best
audition
experience
I’ve
ever
had.
The
panel
members
were
just
so
lovely
and
good
humoured.
The
panel
consisted
of
Sheri
Greenwald,
the
Director
of
the
San
Francisco
Opera
Centre,
and
Mark
Morash,
the
Head
of
Music
within
the
centre,
and
a
third
independent
member.
The
auditions
were
held
in
the
Liederkranz
Club,
a
lovely
building,
with
a
‘warm
up
space’
that
was
jokingly
(though
accurately)
described
as
looking
like
a
19th
century
German
drinking
hall.
There
to
greet
us
was
Jo
Ann
McStravick,
with
whom
I
would
later
be
in
frequent
contact,
as
she
is
the
Artist
Service
Co-‐ ordinator
for
the
company.
I
was
uncertain
which
aria
to
start
with
-‐
it
had
to
be
one
of
six
listed
in
the
initial
application.
Time
was
scarce
and
the
panel
was
only
hearing
one
aria.
Jetlag
ultimately
dictated
my
choice.
My
bottom
G’s
were
sounding
fabulous,
so
I
elected
to
sing
‘Give
him
this
Orchid’
from
Britten’s
The
Rape
of
Lucretia.
If
you’ve
only
got
one
aria
in
which
to
strut
your
stuff,
go
hard
or
go
home.
I
thoroughly
enjoyed
singing
the
Britten,
after
which
the
panel
asked
for
“Parto,
Parto”.
I
took
a
deep
breath
and
lo,
the
fluke
fairy
fleweth
over
me,
and
the
coloratura
runs
in
the
third
section
were
successfully
negotiated.
Jo
Ann
gave
us
a
number
to
call
later
that
evening,
to
see
who
went
through
to
the
final
round
of
auditions
the
next
day.
You
could
have
peeled
me
off
the
ceiling
when
I
heard
my
name
called
on
the
audition
hotline.
I
was
scheduled
to
sing
the
next
day,
and
it
didn’t
occur
to
me
that
a
teeming
metropolis
like
New
York
could
possibly
have
anything
so
provincial
as
‘taxi
change-‐over
period’.
I
could
not
get
a
cab,
time
was
running
out
and
I
was
beginning
to
get
frantic.
In
an
act
of
desperation,
I
jaywalked
across
7th
Avenue
to
where
a
cab
was
dropping
someone
off.
Before
he
could
get
the
words
‘off
duty’
out
of
his
mouth,
I
held
up
$50
and
told
him
it
was
his
if
he
took
me
to
the
Liederkranz
Club
(a
$15
cab
ride
normally).
The
American
Dream
-‐
money
talks
and
drives
a
cab!
The
audition
was
once
again
a
delightful
experience,
and
the
panel
asked
me
to
sing
‘Una
Voce
poco
Fa’
and
the
‘Letter
Aria’
from
Werther.
Following
the
singing
was
a
brief
interview,
then
Jo
Ann
told
me
that
they
would
be
in
touch
by
the
following
night
(Friday)
if
I
was
accepted.
Friday
night
came
and
went
without
a
phone
call
-‐despair!
Saturday
however,
came
complete
with
a
phone
call
of
acceptance
–
relief
and
exultation!
When
I
arrived
back
in
Sydney,
Sheri
had
sent
me
an
email,
in
which
she
welcomed
me
into
the
program
as
the
‘Aussie
Wildcard’.
‘Wildcard’
is
the
term
used
for
singers
they
take
into
the
program
whom
they
are
unable
to
cast
in
either
of
the
two
opera
productions.
The
operas
to
be
performed
are
chosen
before
the
singers.
This
summer
the
Merola
program
presented
Conrad
Susa’s
Transformations
and
Cimarosa’s
Il
Matrimonio
Segreto.
Of
the
23
singers
in
the
program,
14
were
cast
in
Roles
in
the
operas.
The
nine
wildcards
had
a
separate
concert
of
staged
scenes
with
full
orchestra
in
a
popular
free
outdoor
concert
at
the
Yerba
Buena
Gardens.
I
was
assigned
a
scene
from
La
Favorite
by
Donizetti,
which
includes
the
fabulous
aria
‘O
mon
Fernand’.
Being
a
wildcard
leaves
you
with
more
time
to
coach
and
work
on
your
own
repertoire.
During
the
lead-‐ups
to
the
two
operas,
the
cast
members
were
flat
out
rehearsing,
and
could
not
come
to
masterclasses,
or
attend
as
many
coaching
sessions.
In
preparation,
Jo
Ann
McStravick
sent
out
several
information
packets.
These
ranged
from
what
to
wear
for
San
Franciscan
weather,
to
the
most
thorough
housing
questionnaire
I
have
ever
seen.
Over
the
summer
the
Merolini
(the
collective
term
given
to
Merola
participants),
have
their
housing
provided
for
them.
Some
stayed
with
couples,
singles
or
families
whilst
others
roomed
together
in
housing
provided
by
opera
aficionados.
The
questionnaire
asked
what
type
of
living
arrangement
you
prefer
-‐
a
family
with
children,
a
single
person,
a
married
couple,
a
gay-‐friendly
household
or
with
other
Merolini.
It
also
asked
if
we
would
prefer
a
house
with
or
without
pets
-‐
if
yes,
what
kind
of
pet,
down
to
the
preferred
breed!
I
specified
that
I
would
love
to
stay
with
some
native
San
Franciscans,
I
wasn’t
fussed
as
to
whether
or
not
they
had
kids
but
I
was
very
keen
on
living
in
a
house
that
had
cats!
I
also
stated
that
though
I’m
Jewish
I’m
not
kosher
or
religious,
and
I
would
prefer
not
staying
with
religious
fundamentalists
of
any
persuasion.
For
the
summer
I
lived
in
the
Noe
Valley
home
of
Andy
and
Molly
Fleischman
and
their
two
cats
‘Itty
Bitty’
and
‘Fuzzy
Wuzzy’.
Their
home
is
a
three-‐storey
condominium
and
I
had
the
bottom
floor
to
myself.
It
consisted
of
a
large
bedroom
with
french
doors
which
open
out
onto
a
paved
courtyard
with
a
mini
pond,
an
ensuite
bathroom
and
kitchenette.
Andy
and
Molly
were
my
kind
of
Jews;
the
kind
that
fries
bacon
in
the
mornings.
I
was
invited
to
spend
time
with
them
whenever
I
had
it
to
spare,
and
I
got
to
know
them,
their
two
adult
children
and
baby
grand
daughters.
After
reading
my
housing
questionnaire
their
daughter
Lauren
and
her
husband
Dan
wanted
Andy
and
Molly
to
cover
the
house
in
crucifixes
and
bibles
in
an
attempt
to
scare
the
pants
off
me!
Molly
recently
sent
me
a
postcard
in
which
she
hoped
that
I
would
consider
the
Fleischman’s
my
‘American
Family’
and
believe
me,
I
do.
On
5
June,
I
went
to
the
opera
house
for
the
first
Merola
meeting.
The
Merolini
consisted
of
23
singers,
four
apprentice
coaches
and
one
apprentice
director.
We
were
met
by
members
of
San
Francisco
Opera
administration,
including
conductor
Donald
Runnicles.
We
were
told
that
simply
being
there
meant
that
we
were
‘the
crème’de
la
crème’.
He
informed
us
that
it
was
from
this
point
that
the
really
hard
work
begins,
and
that
the
industry
isn't
getting
any
easier.
Sheri
Greenwald
then
went
on
to
talk
about
the
Adler
Fellowship.
Adler
Fellows
are
Merola
participants
who
are
invited
to
stay
on
for
two
years
as
young
artists
with
the
San
Francisco
Opera
Company.
She
mentioned
that
there
were
three
positions
available
for
2007,
and
you
could
have
felt
the
tension
in
the
room
mount
from
a
state
line
away!
I
think
that
this
was
what
Donald
Runnicles
was
talking
about.
There
were
23
singers
in
that
room
who
were
ostensibly
the
top
in
their
field
(or
the
top
of
the
600-‐800
auditioned),
and
at
various
points
we
all
felt
the
pressure
to
be
the
top
of
the
top.
It
is
a
curious
‘microcosm
mentality’
we
all
fall
into,
when
placed
within
a
specialist
field.
We
forget
too
easily
that
there
is
a
larger
world
outside
of
the
one
we
create
for
ourselves.
There
must
be
some
part
of
the
human
brain
that
takes
comfort
in
the
comprehensive
intimacy
of
miniatures.
Though
the
11
weeks
served
as
an
extended
audition
period,
I
am
delighted
to
say
that
there
was
no
open
competition
between
singers.
I
always
felt
utterly
supported
by
my
fellow
Merolini
and
I
hope
they
felt
that
support
from
me.
I
learned
that
something
remarkable
happens
when
you
work
at
such
a
high
level
with
people
who
are
genuinely
your
peers.
Competition
ceases
to
be
an
ugly
word,
as
the
only
person
you
compete
with
is
yourself.
My
colleagues
were
people
I
sang
with,
and
sang
better
for
singing
with,
laughed
with,
drank
(sometimes
heavily)
with
and,
most
importantly,
learned
from.
I
have
already
alluded
to
the
intensity
of
the
program,
and
I
invite
you
to
strap
yourself
in
whilst
I
elaborate.
Most
days
I
was
at
the
opera
house
from
9am
until
6
or
7pm,
unless
there
was
a
public
masterclass,
in
which
case,
9pm.
We
had
one
day
off
a
week
and
sometimes
not
even
that.
Dolora
Zajick
told
us
that
when
she
was
in
Merola
she
nicknamed
it
Boot
Camp,
and
since,
that
has
been
the
affectionate
name
for
Merola.
After
the
first
fortnight,
we
had
sat
through
47
hours
of
masterclasses,
not
including
coachings.
This
year
the
program
was
fairly
front
loaded,
because
a
lot
of
the
visiting
master
coaches
were
only
available
in
June.
In
that
initial
month
I
worked
with:
Deborah
Birnbaum
(breathing
specialist)
Chuck
Hudson
(director
and
acting
coach)
Warren
Jones
(master
coach)
Kathy
Cathcart
(resident
coach)
Mark
Morash
(resident
coach)
Jane
Eaglen
–
need
I
say
more
John
Copley
(director)
and
Haken
Hagegard
(master
coach)
We
worked
for
three
hours
a
day
with
director
and
acting
teacher
Chuck
Hudson.
He
challenged
us
to
think
in
physical
terms,
and
in
each
session,
turned
my
idea
of
acting
on
its
head.
It
was
exhilarating
and
terrifying
all
at
once.
Exhilarating,
because
I
couldn’t
wait
to
utilise
what
he
had
taught,
and
terrifying,
because
it
was
made
clear
just
how
much
work
was
yet
to
be
done.
Warren
Jones
exists
to
make
the
rest
of
us
feel
thoroughly
musically
inadequate!
It
seemed
that
there
was
nothing
he
did
not
know
about
opera
–
down
to
what
the
third
flute
does
in
Act
III
bar
467
of
any
opera
you
can
name.
When
he
was
met
by
our
awestruck
faces,
he
very
modestly
and
endearingly
reminded
us
that
he
had
been
in
this
business
for
longer
than
we
had,
and
that
you
pick
up
most
of
this
knowledge
purely
through
osmosis.
Nonetheless
I
remain
convinced
the
man
is
a
genius
–
anyone
who
hears
him
play
could
scarcely
disagree.
Two
of
the
coaches,
Jane
Eaglen
and
John
Copley,
were
adored
by
all
the
Merolini.
Jane
had
a
mischievous
twinkle
in
her
eye
and
a
smile
that
just
made
you
want
to
sing
for
her.
Everyone
loved
her
input
and
benefited
from
their
time
with
her.
One
of
the
highlights
was
Jane
singing
a
top
A
at
me
at
point
black
range
in
a
tiny
room!
John
Copley
is
amazing
and
there
is
no-‐one
that
he
hasn’t
worked
with.
His
stories
kept
us
entertained
and
often
in
stitches,
and
the
work
he
did
with
us
was
fascinating.
His
staging
was
always
aesthetically
beautiful
but
he
gave
depth
to
this
beauty.
Every
gesture,
vocal
or
physical,
was
meticulously
planned,
yet
retained
its
authenticity
and
organic
emotion.
Each
master
coach
presented
a
‘public
masterclass’,
which
is
open
to
board
members
and
donors.
The
donors
and
board
members
are
an
essential
part
of
the
Merola
program.
They
are
the
most
enthusiastic
and
supportive
opera
lovers
a
singer
could
hope
for.
One
of
them,
Mr
Heagy,
takes
all
the
Merolini
out
to
dinner
following
each
masterclass.
The
Merola
board,
headed
by
David
Hugle,
is
a
fantastically
organised
lean,
mean,
fund
raising
machine,
with
a
proactive
approach
to
raising
awareness
of
opera
and
addressing
the
financial
needs
of
young
singers.
It
is
through
their
efforts
that
each
Merolini
is
provided
with
travel
costs,
housing,
and
a
weekly
stipend.
A
special
privilege
granted
is
the
opportunity
to
apply
for
up
to
a
US$10,000
grant,
to
further
their
musical
careers.
Each
Merolini
has
a
dedicated
sponsor
or
group
of
sponsors.
My
sponsor,
Ms
Blanch
Thebom,
had
set
up
a
‘Mezzo
Fund’
and
US$8000
pledged
covered
my
Merola
experience.
She
wished
to
repay
the
operatic
community
and
I
was
the
inaugural
recipient
of
her
grant.
I
was
fortunate
enough
to
have
lunch
with
Ms
Thebom
towards
the
end
of
the
summer.
She
is
an
opera
legend,
singing
Fricka
at
the
Met
at
the
age
of
22!
She
is
in
her
late
80’s
and
looks
fabulous.
The
first
big
performance
of
the
summer
was
actually
an
audition
on
the
main
stage
of
the
San
Francisco
Opera
House,
which
seats
3250.
The
audition
was
for
David
Gockley,
the
general
manager
of
the
SFO.
The
audience
consisted
of
the
SFO
board,
Merola
staff,
SFO
staff,
the
Adler
fellows,
Dolora
Zajick,
Hakan
Hagagard
and
around
200
of
the
donors,
who
were
seated
in
the
dress
circle.
It
was
nice
to
have
the
donors
present,
as
an
audience
is
always
preferable
to
an
audition
panel,
however
they
were
not
permitted
to
clap.
All
23
singers
performed
one
aria
recommended
by
the
Merola
staff,
from
their
original
list
of
6.
There
was
a
short
break,
after
which
Mr
Gockley
called
back
those
singers
from
whom
he
wished
to
hear
a
second
aria.
We
were
told
that
being
called
back
was
neither
a
good
nor
a
bad
sign,
it
simply
meant
that
he
needed
to
hear
more
to
complete
his
assessment.
I
was
one
of
nine
who
performed
a
second
aria.
At
the
beginning
of
the
summer
we
were
each
assigned
one
of
the
four
coaches
to
act
as
our
accompanist
for
auditions
and
masterclasses.
We
worked
with
all
four
of
them
at
one
point
or
another.
I
principally
worked
with
a
phenomenally
talented
young
man
named
Andrew
Altenbach.
Andrew
is
an
aspiring
conductor,
and
was
my
musical
partner
in
crime
throughout
the
summer.
I
hope
to
work
with
him
again
in
the
future.
As
the
summer
progressed
the
challenges
grew.
Sheri
Greenwald
is
one
dynamic
woman,
who
arranged
a
two
day
seminar
and
mock
audition
with
the
heads
of
young
artist
programs
from
The
Met,
Chicago
Lyric,
Seattle,
LA
Opera,
Virginia,
Washington
–
to
name
but
a
few.
Also
present
was
Matthew
Epstein,
top
Columbia
Artist
Management
agent,
and
one
of
the
most
powerful
men
in
American
opera.
The
morning
of
the
first
day
was
a
question
and
answer
seminar,
an
incredible
opportunity
for
an
Aussie
singer.
I
was
thrilled
with
my
audition.
The
work
I
had
done
had
a
chance
to
manifest,
and
was
an
affirmation
that
I
had
learned
a
great
deal
in
a
very
short
time.
The
panel
was
extremely
positive
and,
as
a
result,
I
have
received
several
exciting
offers.
The
summer
was
marked
by
four
major
events.
They
were
the
Yerba
Buena
scenes
concert,
Transformations,
Il
Matrimonio
Segreto
and
last,
but
definitely
not
least,
the
Merola
Grand
Finale.
The
Yerba
Buena
concert
was
a
great
success,
as
were
both
operas.
The
Yerba
Buena
orchestra
was
conducted
beautifully
by
Mark
Morash,
and
directed
intelligently
by
Roy
Rallo.
I
loved
working
with
Roy,
as
he
had
a
rare
gift
in
a
man
-‐
a
phenomenal
grasp
of
how
women
process
emotional
pain.
Following
the
Yerba
Buena
concert
we
began
classes
in
improvisation,
make
up
and
movement
with
Dallas
Wright.
Dallas
began
each
class
with
a
fusion
of
stretching,
movement
and
Pilates,
followed
by
dance.
In
my
most
memorable
dance
class,
we
were
asked
to
repeat
a
series
of
dance
steps,
moving
diagonally
across
the
room.
At
the
end
of
the
routine,
the
couple
were
to
do
some
kind
of
jump
and
spin.
Having
completed
the
routine
with
unexpected
agility
I
went
for
the
leap.
I
reached
down,
down
into
the
tulle-‐layered
realm
of
a
five
year-‐old’s
dreams
of
tutus
and
tights,
and
seized
my
inner
Baryshnikov!
Unfortunately,
my
inner
Baryshnikov
closely
resembles
a
semi-‐retarded
penguin
on
a
tequila
fuelled
Tijuana
bender,
and
I
came
crashing
down
on
my
arse!
Fortunately,
I
break-‐fall
instinctively.
However,
this
makes
a
loud
thud,
thus
adding
to
the
embarrassment
of
the
situation.
My
colleagues
were
all
laughing
too
hard
to
help
me
up,
so
Dallas
came
rushing
over
to
make
sure
I
was
intact,
and
to
tell
me
she
‘loved
the
energy
you
put
into
that’.
The
stage
make-‐up
classes
were
scheduled
for
9am.
It
was
the
only
time
in
the
history
of
my
education
that
I
have
turned
up
to
a
9am
class,
not
only
on
time,
but
raring
to
go!
I
have
a
make-‐up
substance
abuse
problem,
and
this
class
was
where
I
got
my
fix
–
give
me
eyeliner
or
give
me
death!
During
the
remainder
of
the
summer,
Dolora
Zajick,
Martin
Katz
and
Steven
Blier
worked
with
us.
Dolora
is
the
anti-‐diva.
She
is
so
approachable,
which
I
found
hard
to
believe
because
of
her
amazing
vocal
ability.
As
Merolini,
we
were
able
to
watch
rehearsals
and
performances
of
the
summer
opera
season.
These
included
The
Marriage
of
Figaro,
Madame
Butterfly
and
The
Maid
of
Orleans.
Dolora
sang
the
lead
in
the
last
of
these
operas
and
was
outstanding.
She
is
a
mezzo
powerhouse
with
a
top
‘c’
most
sopranos
would
kill
for.
Working
with
her
was
an
experience
I
shall
never
forget.
Steven
Blier
has
a
deeply
moving
awareness
of
the
beauty
and
power
of
music.
He
never
forgets
how
lucky
we
are
as
musicians
to
work
in
this
art
form.
Although
most
of
the
coaches
come
and
go,
three
stay
throughout
the
course,
namely
Sheri,
Mark
Morash
and
Kathy
Cathcart.
All
three
are
gifted
as
both
teachers
and
musicians.
They
were
always
there
to
give
you
a
clear
idea
of
how
you
were
progressing.
Kathy
in
particular,
helped
me
to
process
the
information
overload
that
results
from
multiple
coaches
and
lessons.
One
of
SFO’s
greatest
assets
dwells
in
the
basement:
Steven
White,
librarian
extraordinaire.
The
opera
library
is
a
cosy
enclave
which
exists
in
a
state
of
highly
organised
chaos.
If
you
needed
time
out,
a
place
to
smile,
laugh,
eat
lunch
or
just
talk,
the
library
was
the
place
to
be
–
it
also
wasn’t
a
bad
place
to
get
music
CDs
and
books
now
that
I
think
of
it!
The
Grand
Finale
concert
is
the
showcase
of
the
eleven
weeks
of
hard
work,
and
is
a
popular
highlight
of
the
annual
concert
calendar.
It
is
also
the
final
opportunity
to
make
a
good
impression
for
consideration
for
the
Adler
Program.
People
are
assigned
either
arias
or
ensemble
scenes.
I
was
assigned
both
the
aria
‘D’amour
l’ardente
flamme’
from
Berlioz’s
La
Damnation
de
Faust,
and
‘The
Presentation
of
the
Rose’
from
Der
Rosenkavalier
opposite
Korean
Soprano
Ji
Young
Yang’s.
I
loved
singing
with
Ji,
who
made
the
experience
sublime.
Another
highlight
was
Heidi
Melton,
a
young
dramatic
soprano
with
a
voice
of
epic
proportions.
The
Berlioz
was
my
greatest
musical
and
vocal
challenge
to
date.
Having
studied
‘Les
nuits
d’été’
I
had
gained
an
understanding
of
Berlioz,
without
which
I
could
not
have
prepared
an
entirely
new
piece,
ready
to
present
on
the
main
stage
of
the
opera
house
with
full
orchestra
in
three
short
weeks.
Until
the
Sitzprobe,
I
didn’t
know
if
I’d
be
able
to
do
the
piece
justice.
The
moment
that
I
heard
the
heartbreaking
horn
solo
the
whole
thing
fell
into
place.
The
experience
of
performing
it
on
the
night
remains
unequalled
in
my
singing
career,
especially
as
my
parents
and
my
singing
teacher
had
flown
in
from
Sydney
for
the
concert.
So
there
you
have
it,
the
most
intense
three
months
of
my
life
put
into
words.
Writing
this,
I
realise
that
I
have
left
out
a
great
deal,
and
it
is
still
by
no
means
a
brief
report!
I
have
come
through
the
Merola
program
a
better
singer,
stronger
performer,
more
compassionate
colleague
and
a
much
more
grown
up
girl
than
the
one
who
arrived
in
early
June
of
2006
in
San
Francisco.
Come
to
think
of
it,
I
didn’t
even
mention
how
lovely
the
city
is!
Katharine
Tier
Young
Sydney
singer
Katharine
Tier
is
brimming
over
with
her
experience
as
a
participant
in
the
Merola
Program,
an
intense
eleven-‐week
training
program
for
young
opera
singers
held
in
San
Francisco
each
northern
summer.
It
is
an
often
hilarious
account
of
a
program
that
has
no
remote
equivalent
in
Australia.
Read,
and
envy.
And
then
consider
what
we
might
do
about
it.
My
contact
with
the
Merola
Program
began
in
earnest
in
November
of
2005.
I
had
been
selected
as
a
finalist
in
the
Neue
Stimmen
international
singing
competition
in
Germany.
Before
leaving
Sydney,
I
searched
for
all
the
international
programs
for
which
I
would
be
able
to
audition
whilst
overseas.
The
Merola
Program
won
first
place
on
my
list.
It
has
a
reputation
(50
years
in
2007)
for
providing
a
level
of
excellence
in
operatic
training
that
was
scarcely
rivalled
anywhere
else
in
the
world.
I
duly
sent
in
my
application
and
was
delighted
to
receive
an
email
informing
me
that
my
application
was
successful
and
I
was
scheduled
to
audition
in
Manhattan
last
November.
The
audition
panel
for
the
Merola
program
tours
the
USA,
auditioning
prospective
candidates.
My
first
round
audition
was
the
best
audition
experience
I’ve
ever
had.
The
panel
members
were
just
so
lovely
and
good
humoured.
The
panel
consisted
of
Sheri
Greenwald,
the
Director
of
the
San
Francisco
Opera
Centre,
and
Mark
Morash,
the
Head
of
Music
within
the
centre,
and
a
third
independent
member.
The
auditions
were
held
in
the
Liederkranz
Club,
a
lovely
building,
with
a
‘warm
up
space’
that
was
jokingly
(though
accurately)
described
as
looking
like
a
19th
century
German
drinking
hall.
There
to
greet
us
was
Jo
Ann
McStravick,
with
whom
I
would
later
be
in
frequent
contact,
as
she
is
the
Artist
Service
Co-‐ ordinator
for
the
company.
I
was
uncertain
which
aria
to
start
with
-‐
it
had
to
be
one
of
six
listed
in
the
initial
application.
Time
was
scarce
and
the
panel
was
only
hearing
one
aria.
Jetlag
ultimately
dictated
my
choice.
My
bottom
G’s
were
sounding
fabulous,
so
I
elected
to
sing
‘Give
him
this
Orchid’
from
Britten’s
The
Rape
of
Lucretia.
If
you’ve
only
got
one
aria
in
which
to
strut
your
stuff,
go
hard
or
go
home.
I
thoroughly
enjoyed
singing
the
Britten,
after
which
the
panel
asked
for
“Parto,
Parto”.
I
took
a
deep
breath
and
lo,
the
fluke
fairy
fleweth
over
me,
and
the
coloratura
runs
in
the
third
section
were
successfully
negotiated.
Jo
Ann
gave
us
a
number
to
call
later
that
evening,
to
see
who
went
through
to
the
final
round
of
auditions
the
next
day.
You
could
have
peeled
me
off
the
ceiling
when
I
heard
my
name
called
on
the
audition
hotline.
I
was
scheduled
to
sing
the
next
day,
and
it
didn’t
occur
to
me
that
a
teeming
metropolis
like
New
York
could
possibly
have
anything
so
provincial
as
‘taxi
change-‐over
period’.
I
could
not
get
a
cab,
time
was
running
out
and
I
was
beginning
to
get
frantic.
In
an
act
of
desperation,
I
jaywalked
across
7th
Avenue
to
where
a
cab
was
dropping
someone
off.
Before
he
could
get
the
words
‘off
duty’
out
of
his
mouth,
I
held
up
$50
and
told
him
it
was
his
if
he
took
me
to
the
Liederkranz
Club
(a
$15
cab
ride
normally).
The
American
Dream
-‐
money
talks
and
drives
a
cab!
The
audition
was
once
again
a
delightful
experience,
and
the
panel
asked
me
to
sing
‘Una
Voce
poco
Fa’
and
the
‘Letter
Aria’
from
Werther.
Following
the
singing
was
a
brief
interview,
then
Jo
Ann
told
me
that
they
would
be
in
touch
by
the
following
night
(Friday)
if
I
was
accepted.
Friday
night
came
and
went
without
a
phone
call
-‐despair!
Saturday
however,
came
complete
with
a
phone
call
of
acceptance
–
relief
and
exultation!
When
I
arrived
back
in
Sydney,
Sheri
had
sent
me
an
email,
in
which
she
welcomed
me
into
the
program
as
the
‘Aussie
Wildcard’.
‘Wildcard’
is
the
term
used
for
singers
they
take
into
the
program
whom
they
are
unable
to
cast
in
either
of
the
two
opera
productions.
The
operas
to
be
performed
are
chosen
before
the
singers.
This
summer
the
Merola
program
presented
Conrad
Susa’s
Transformations
and
Cimarosa’s
Il
Matrimonio
Segreto.
Of
the
23
singers
in
the
program,
14
were
cast
in
Roles
in
the
operas.
The
nine
wildcards
had
a
separate
concert
of
staged
scenes
with
full
orchestra
in
a
popular
free
outdoor
concert
at
the
Yerba
Buena
Gardens.
I
was
assigned
a
scene
from
La
Favorite
by
Donizetti,
which
includes
the
fabulous
aria
‘O
mon
Fernand’.
Being
a
wildcard
leaves
you
with
more
time
to
coach
and
work
on
your
own
repertoire.
During
the
lead-‐ups
to
the
two
operas,
the
cast
members
were
flat
out
rehearsing,
and
could
not
come
to
masterclasses,
or
attend
as
many
coaching
sessions.
In
preparation,
Jo
Ann
McStravick
sent
out
several
information
packets.
These
ranged
from
what
to
wear
for
San
Franciscan
weather,
to
the
most
thorough
housing
questionnaire
I
have
ever
seen.
Over
the
summer
the
Merolini
(the
collective
term
given
to
Merola
participants),
have
their
housing
provided
for
them.
Some
stayed
with
couples,
singles
or
families
whilst
others
roomed
together
in
housing
provided
by
opera
aficionados.
The
questionnaire
asked
what
type
of
living
arrangement
you
prefer
-‐
a
family
with
children,
a
single
person,
a
married
couple,
a
gay-‐friendly
household
or
with
other
Merolini.
It
also
asked
if
we
would
prefer
a
house
with
or
without
pets
-‐
if
yes,
what
kind
of
pet,
down
to
the
preferred
breed!
I
specified
that
I
would
love
to
stay
with
some
native
San
Franciscans,
I
wasn’t
fussed
as
to
whether
or
not
they
had
kids
but
I
was
very
keen
on
living
in
a
house
that
had
cats!
I
also
stated
that
though
I’m
Jewish
I’m
not
kosher
or
religious,
and
I
would
prefer
not
staying
with
religious
fundamentalists
of
any
persuasion.
For
the
summer
I
lived
in
the
Noe
Valley
home
of
Andy
and
Molly
Fleischman
and
their
two
cats
‘Itty
Bitty’
and
‘Fuzzy
Wuzzy’.
Their
home
is
a
three-‐storey
condominium
and
I
had
the
bottom
floor
to
myself.
It
consisted
of
a
large
bedroom
with
french
doors
which
open
out
onto
a
paved
courtyard
with
a
mini
pond,
an
ensuite
bathroom
and
kitchenette.
Andy
and
Molly
were
my
kind
of
Jews;
the
kind
that
fries
bacon
in
the
mornings.
I
was
invited
to
spend
time
with
them
whenever
I
had
it
to
spare,
and
I
got
to
know
them,
their
two
adult
children
and
baby
grand
daughters.
After
reading
my
housing
questionnaire
their
daughter
Lauren
and
her
husband
Dan
wanted
Andy
and
Molly
to
cover
the
house
in
crucifixes
and
bibles
in
an
attempt
to
scare
the
pants
off
me!
Molly
recently
sent
me
a
postcard
in
which
she
hoped
that
I
would
consider
the
Fleischman’s
my
‘American
Family’
and
believe
me,
I
do.
On
5
June,
I
went
to
the
opera
house
for
the
first
Merola
meeting.
The
Merolini
consisted
of
23
singers,
four
apprentice
coaches
and
one
apprentice
director.
We
were
met
by
members
of
San
Francisco
Opera
administration,
including
conductor
Donald
Runnicles.
We
were
told
that
simply
being
there
meant
that
we
were
‘the
crème’de
la
crème’.
He
informed
us
that
it
was
from
this
point
that
the
really
hard
work
begins,
and
that
the
industry
isn't
getting
any
easier.
Sheri
Greenwald
then
went
on
to
talk
about
the
Adler
Fellowship.
Adler
Fellows
are
Merola
participants
who
are
invited
to
stay
on
for
two
years
as
young
artists
with
the
San
Francisco
Opera
Company.
She
mentioned
that
there
were
three
positions
available
for
2007,
and
you
could
have
felt
the
tension
in
the
room
mount
from
a
state
line
away!
I
think
that
this
was
what
Donald
Runnicles
was
talking
about.
There
were
23
singers
in
that
room
who
were
ostensibly
the
top
in
their
field
(or
the
top
of
the
600-‐800
auditioned),
and
at
various
points
we
all
felt
the
pressure
to
be
the
top
of
the
top.
It
is
a
curious
‘microcosm
mentality’
we
all
fall
into,
when
placed
within
a
specialist
field.
We
forget
too
easily
that
there
is
a
larger
world
outside
of
the
one
we
create
for
ourselves.
There
must
be
some
part
of
the
human
brain
that
takes
comfort
in
the
comprehensive
intimacy
of
miniatures.
Though
the
11
weeks
served
as
an
extended
audition
period,
I
am
delighted
to
say
that
there
was
no
open
competition
between
singers.
I
always
felt
utterly
supported
by
my
fellow
Merolini
and
I
hope
they
felt
that
support
from
me.
I
learned
that
something
remarkable
happens
when
you
work
at
such
a
high
level
with
people
who
are
genuinely
your
peers.
Competition
ceases
to
be
an
ugly
word,
as
the
only
person
you
compete
with
is
yourself.
My
colleagues
were
people
I
sang
with,
and
sang
better
for
singing
with,
laughed
with,
drank
(sometimes
heavily)
with
and,
most
importantly,
learned
from.
I
have
already
alluded
to
the
intensity
of
the
program,
and
I
invite
you
to
strap
yourself
in
whilst
I
elaborate.
Most
days
I
was
at
the
opera
house
from
9am
until
6
or
7pm,
unless
there
was
a
public
masterclass,
in
which
case,
9pm.
We
had
one
day
off
a
week
and
sometimes
not
even
that.
Dolora
Zajick
told
us
that
when
she
was
in
Merola
she
nicknamed
it
Boot
Camp,
and
since,
that
has
been
the
affectionate
name
for
Merola.
After
the
first
fortnight,
we
had
sat
through
47
hours
of
masterclasses,
not
including
coachings.
This
year
the
program
was
fairly
front
loaded,
because
a
lot
of
the
visiting
master
coaches
were
only
available
in
June.
In
that
initial
month
I
worked
with:
Deborah
Birnbaum
(breathing
specialist)
Chuck
Hudson
(director
and
acting
coach)
Warren
Jones
(master
coach)
Kathy
Cathcart
(resident
coach)
Mark
Morash
(resident
coach)
Jane
Eaglen
–
need
I
say
more
John
Copley
(director)
and
Haken
Hagegard
(master
coach)
We
worked
for
three
hours
a
day
with
director
and
acting
teacher
Chuck
Hudson.
He
challenged
us
to
think
in
physical
terms,
and
in
each
session,
turned
my
idea
of
acting
on
its
head.
It
was
exhilarating
and
terrifying
all
at
once.
Exhilarating,
because
I
couldn’t
wait
to
utilise
what
he
had
taught,
and
terrifying,
because
it
was
made
clear
just
how
much
work
was
yet
to
be
done.
Warren
Jones
exists
to
make
the
rest
of
us
feel
thoroughly
musically
inadequate!
It
seemed
that
there
was
nothing
he
did
not
know
about
opera
–
down
to
what
the
third
flute
does
in
Act
III
bar
467
of
any
opera
you
can
name.
When
he
was
met
by
our
awestruck
faces,
he
very
modestly
and
endearingly
reminded
us
that
he
had
been
in
this
business
for
longer
than
we
had,
and
that
you
pick
up
most
of
this
knowledge
purely
through
osmosis.
Nonetheless
I
remain
convinced
the
man
is
a
genius
–
anyone
who
hears
him
play
could
scarcely
disagree.
Two
of
the
coaches,
Jane
Eaglen
and
John
Copley,
were
adored
by
all
the
Merolini.
Jane
had
a
mischievous
twinkle
in
her
eye
and
a
smile
that
just
made
you
want
to
sing
for
her.
Everyone
loved
her
input
and
benefited
from
their
time
with
her.
One
of
the
highlights
was
Jane
singing
a
top
A
at
me
at
point
black
range
in
a
tiny
room!
John
Copley
is
amazing
and
there
is
no-‐one
that
he
hasn’t
worked
with.
His
stories
kept
us
entertained
and
often
in
stitches,
and
the
work
he
did
with
us
was
fascinating.
His
staging
was
always
aesthetically
beautiful
but
he
gave
depth
to
this
beauty.
Every
gesture,
vocal
or
physical,
was
meticulously
planned,
yet
retained
its
authenticity
and
organic
emotion.
Each
master
coach
presented
a
‘public
masterclass’,
which
is
open
to
board
members
and
donors.
The
donors
and
board
members
are
an
essential
part
of
the
Merola
program.
They
are
the
most
enthusiastic
and
supportive
opera
lovers
a
singer
could
hope
for.
One
of
them,
Mr
Heagy,
takes
all
the
Merolini
out
to
dinner
following
each
masterclass.
The
Merola
board,
headed
by
David
Hugle,
is
a
fantastically
organised
lean,
mean,
fund
raising
machine,
with
a
proactive
approach
to
raising
awareness
of
opera
and
addressing
the
financial
needs
of
young
singers.
It
is
through
their
efforts
that
each
Merolini
is
provided
with
travel
costs,
housing,
and
a
weekly
stipend.
A
special
privilege
granted
is
the
opportunity
to
apply
for
up
to
a
US$10,000
grant,
to
further
their
musical
careers.
Each
Merolini
has
a
dedicated
sponsor
or
group
of
sponsors.
My
sponsor,
Ms
Blanch
Thebom,
had
set
up
a
‘Mezzo
Fund’
and
US$8000
pledged
covered
my
Merola
experience.
She
wished
to
repay
the
operatic
community
and
I
was
the
inaugural
recipient
of
her
grant.
I
was
fortunate
enough
to
have
lunch
with
Ms
Thebom
towards
the
end
of
the
summer.
She
is
an
opera
legend,
singing
Fricka
at
the
Met
at
the
age
of
22!
She
is
in
her
late
80’s
and
looks
fabulous.
The
first
big
performance
of
the
summer
was
actually
an
audition
on
the
main
stage
of
the
San
Francisco
Opera
House,
which
seats
3250.
The
audition
was
for
David
Gockley,
the
general
manager
of
the
SFO.
The
audience
consisted
of
the
SFO
board,
Merola
staff,
SFO
staff,
the
Adler
fellows,
Dolora
Zajick,
Hakan
Hagagard
and
around
200
of
the
donors,
who
were
seated
in
the
dress
circle.
It
was
nice
to
have
the
donors
present,
as
an
audience
is
always
preferable
to
an
audition
panel,
however
they
were
not
permitted
to
clap.
All
23
singers
performed
one
aria
recommended
by
the
Merola
staff,
from
their
original
list
of
6.
There
was
a
short
break,
after
which
Mr
Gockley
called
back
those
singers
from
whom
he
wished
to
hear
a
second
aria.
We
were
told
that
being
called
back
was
neither
a
good
nor
a
bad
sign,
it
simply
meant
that
he
needed
to
hear
more
to
complete
his
assessment.
I
was
one
of
nine
who
performed
a
second
aria.
At
the
beginning
of
the
summer
we
were
each
assigned
one
of
the
four
coaches
to
act
as
our
accompanist
for
auditions
and
masterclasses.
We
worked
with
all
four
of
them
at
one
point
or
another.
I
principally
worked
with
a
phenomenally
talented
young
man
named
Andrew
Altenbach.
Andrew
is
an
aspiring
conductor,
and
was
my
musical
partner
in
crime
throughout
the
summer.
I
hope
to
work
with
him
again
in
the
future.
As
the
summer
progressed
the
challenges
grew.
Sheri
Greenwald
is
one
dynamic
woman,
who
arranged
a
two
day
seminar
and
mock
audition
with
the
heads
of
young
artist
programs
from
The
Met,
Chicago
Lyric,
Seattle,
LA
Opera,
Virginia,
Washington
–
to
name
but
a
few.
Also
present
was
Matthew
Epstein,
top
Columbia
Artist
Management
agent,
and
one
of
the
most
powerful
men
in
American
opera.
The
morning
of
the
first
day
was
a
question
and
answer
seminar,
an
incredible
opportunity
for
an
Aussie
singer.
I
was
thrilled
with
my
audition.
The
work
I
had
done
had
a
chance
to
manifest,
and
was
an
affirmation
that
I
had
learned
a
great
deal
in
a
very
short
time.
The
panel
was
extremely
positive
and,
as
a
result,
I
have
received
several
exciting
offers.
The
summer
was
marked
by
four
major
events.
They
were
the
Yerba
Buena
scenes
concert,
Transformations,
Il
Matrimonio
Segreto
and
last,
but
definitely
not
least,
the
Merola
Grand
Finale.
The
Yerba
Buena
concert
was
a
great
success,
as
were
both
operas.
The
Yerba
Buena
orchestra
was
conducted
beautifully
by
Mark
Morash,
and
directed
intelligently
by
Roy
Rallo.
I
loved
working
with
Roy,
as
he
had
a
rare
gift
in
a
man
-‐
a
phenomenal
grasp
of
how
women
process
emotional
pain.
Following
the
Yerba
Buena
concert
we
began
classes
in
improvisation,
make
up
and
movement
with
Dallas
Wright.
Dallas
began
each
class
with
a
fusion
of
stretching,
movement
and
Pilates,
followed
by
dance.
In
my
most
memorable
dance
class,
we
were
asked
to
repeat
a
series
of
dance
steps,
moving
diagonally
across
the
room.
At
the
end
of
the
routine,
the
couple
were
to
do
some
kind
of
jump
and
spin.
Having
completed
the
routine
with
unexpected
agility
I
went
for
the
leap.
I
reached
down,
down
into
the
tulle-‐layered
realm
of
a
five
year-‐old’s
dreams
of
tutus
and
tights,
and
seized
my
inner
Baryshnikov!
Unfortunately,
my
inner
Baryshnikov
closely
resembles
a
semi-‐retarded
penguin
on
a
tequila
fuelled
Tijuana
bender,
and
I
came
crashing
down
on
my
arse!
Fortunately,
I
break-‐fall
instinctively.
However,
this
makes
a
loud
thud,
thus
adding
to
the
embarrassment
of
the
situation.
My
colleagues
were
all
laughing
too
hard
to
help
me
up,
so
Dallas
came
rushing
over
to
make
sure
I
was
intact,
and
to
tell
me
she
‘loved
the
energy
you
put
into
that’.
The
stage
make-‐up
classes
were
scheduled
for
9am.
It
was
the
only
time
in
the
history
of
my
education
that
I
have
turned
up
to
a
9am
class,
not
only
on
time,
but
raring
to
go!
I
have
a
make-‐up
substance
abuse
problem,
and
this
class
was
where
I
got
my
fix
–
give
me
eyeliner
or
give
me
death!
During
the
remainder
of
the
summer,
Dolora
Zajick,
Martin
Katz
and
Steven
Blier
worked
with
us.
Dolora
is
the
anti-‐diva.
She
is
so
approachable,
which
I
found
hard
to
believe
because
of
her
amazing
vocal
ability.
As
Merolini,
we
were
able
to
watch
rehearsals
and
performances
of
the
summer
opera
season.
These
included
The
Marriage
of
Figaro,
Madame
Butterfly
and
The
Maid
of
Orleans.
Dolora
sang
the
lead
in
the
last
of
these
operas
and
was
outstanding.
She
is
a
mezzo
powerhouse
with
a
top
‘c’
most
sopranos
would
kill
for.
Working
with
her
was
an
experience
I
shall
never
forget.
Steven
Blier
has
a
deeply
moving
awareness
of
the
beauty
and
power
of
music.
He
never
forgets
how
lucky
we
are
as
musicians
to
work
in
this
art
form.
Although
most
of
the
coaches
come
and
go,
three
stay
throughout
the
course,
namely
Sheri,
Mark
Morash
and
Kathy
Cathcart.
All
three
are
gifted
as
both
teachers
and
musicians.
They
were
always
there
to
give
you
a
clear
idea
of
how
you
were
progressing.
Kathy
in
particular,
helped
me
to
process
the
information
overload
that
results
from
multiple
coaches
and
lessons.
One
of
SFO’s
greatest
assets
dwells
in
the
basement:
Steven
White,
librarian
extraordinaire.
The
opera
library
is
a
cosy
enclave
which
exists
in
a
state
of
highly
organised
chaos.
If
you
needed
time
out,
a
place
to
smile,
laugh,
eat
lunch
or
just
talk,
the
library
was
the
place
to
be
–
it
also
wasn’t
a
bad
place
to
get
music
CDs
and
books
now
that
I
think
of
it!
The
Grand
Finale
concert
is
the
showcase
of
the
eleven
weeks
of
hard
work,
and
is
a
popular
highlight
of
the
annual
concert
calendar.
It
is
also
the
final
opportunity
to
make
a
good
impression
for
consideration
for
the
Adler
Program.
People
are
assigned
either
arias
or
ensemble
scenes.
I
was
assigned
both
the
aria
‘D’amour
l’ardente
flamme’
from
Berlioz’s
La
Damnation
de
Faust,
and
‘The
Presentation
of
the
Rose’
from
Der
Rosenkavalier
opposite
Korean
Soprano
Ji
Young
Yang’s.
I
loved
singing
with
Ji,
who
made
the
experience
sublime.
Another
highlight
was
Heidi
Melton,
a
young
dramatic
soprano
with
a
voice
of
epic
proportions.
The
Berlioz
was
my
greatest
musical
and
vocal
challenge
to
date.
Having
studied
‘Les
nuits
d’été’
I
had
gained
an
understanding
of
Berlioz,
without
which
I
could
not
have
prepared
an
entirely
new
piece,
ready
to
present
on
the
main
stage
of
the
opera
house
with
full
orchestra
in
three
short
weeks.
Until
the
Sitzprobe,
I
didn’t
know
if
I’d
be
able
to
do
the
piece
justice.
The
moment
that
I
heard
the
heartbreaking
horn
solo
the
whole
thing
fell
into
place.
The
experience
of
performing
it
on
the
night
remains
unequalled
in
my
singing
career,
especially
as
my
parents
and
my
singing
teacher
had
flown
in
from
Sydney
for
the
concert.
So
there
you
have
it,
the
most
intense
three
months
of
my
life
put
into
words.
Writing
this,
I
realise
that
I
have
left
out
a
great
deal,
and
it
is
still
by
no
means
a
brief
report!
I
have
come
through
the
Merola
program
a
better
singer,
stronger
performer,
more
compassionate
colleague
and
a
much
more
grown
up
girl
than
the
one
who
arrived
in
early
June
of
2006
in
San
Francisco.
Come
to
think
of
it,
I
didn’t
even
mention
how
lovely
the
city
is!