Studio Artist Program

The perfect summer program
for a young classical singer

 

Many young classical singers have a hard time finding a short, intensive summer program where they can

1) be exposed to the highest level of teaching and performance

2) continue building their own individual skills with repertoire that is perfectly suited for their current developmental needs, and

3) meet prospective graduate school colleagues and teachers.

The Studio Artist program at SongFest meets all those needs, offering individual attention to every participant at the highest level through the medium of art song. Under the close guidance of the experienced SongFest administration team, participants will select repertoire suited to their unique strengths and developmental needs.

Studio Artist Sophia Hunt in a master class with Martin Katz.

Studio Artist Sophia Hunt in a master class with Martin Katz.


SongFest is nothing short of a month-long miracle...SongFest really must be the greatest gathering of vocal educators for the purpose of teaching in the country.
— 2016 Studio Artist Sam Krausz http://www.samkrausz.com/blog/

Studio Artists after a concert with faculty pianists Javier Arrebola & Jen Tung.

Studio Artists after a concert with faculty pianists Javier Arrebola & Jen Tung.

Who Should Apply

 

Successful applicants are entering sophomore and junior undergraduates with significant potential for a major operatic or concert career. In rare cases, high-school seniors above the age of 18 showing exceptional promise may be admitted to the program..


I feel very strongly that young singers need more than ever the kind of excellence they find at Songfest. To be a part of [the] program is to receive almost a crash course in the great tradition of singing and expression. And the miracle is that this crash course is offered in a loving, protective and “safe” environment which protects and nourishes the young performer. They can thus start out on their journeys with more courage and conviction and confidence. All the singers whom I have met who have been a part of this program have received an invaluable gift that will influence not only their careers but their lives.
— Frederica von Stade

Studio Artist Cristobal Arias working with Peter Sellars in a master class.

Studio Artist Cristobal Arias working with Peter Sellars in a master class.

Each Singer Receives

 

1) Two voice lessons/week

2) Two coachings/week

3) Two performance opportunities

4) Weekly small group Alexander Technique

5) A two week performance seminar on English language song. This seminar includes an introduction to poetry class, speaking Shakespeare texts, acting games, private coachings, learning how to speak your song text as an actor, learning to tell a story with every song as its own One Act Play, and a final presentation of your work in a staged concert of English language song.

6) A second two week performance seminar.

7) Three small group, private master classes per week with our distinguished faculty in which each student sings once per week.

8) Attendance at all concerts and the professional program's signature public morning master classes.


...a life changing experience in LA at SongFest. My voice and artistry will never be the same, and I am forever grateful.
— 2016 Studio Artist Natalie Sheppard

Studio Artists after a concert with voice teacher William McGraw.

Studio Artists after a concert with voice teacher William McGraw.


It is inspiring to see the numbers of young people eager and excited to explore that discipline; eager to challenge themselves to be better, to raise the bar and create something fine. This is what SongFest is about.
— Jake Heggie

Studio Artist Elias Theocharidis working with Karen Holvik in a master class.

Studio Artist Elias Theocharidis working with Karen Holvik in a master class.


I have been very, very privileged and pleased to be here these past times. I find myself enormously encouraged to see this type of devotion and presence. This repertoire they would tell us is elitist, marginal, uninteresting, done-with, 19th century, kaput. You show us that as long as the human heart understands the conjunction of word and tone as amongst the most beautiful and extraordinary things that can exist in the world, as long as you are alive in this room, teaching, handing on to people younger than you, continuing to be, that this form will never die. I’ve given you a few pointers to try and keep it slightly more alive, but they are unimportant in comparison to your continuing love and commitment.
— Graham Johnson