feel such a deep gratitude not only to Ms. Horne, but especially to Mr. Rubin for this really wonderful mentorship of all of our singers, now and into the future.” Dominguez, who is pursuing a double degree in voice and dance, has thoroughly enjoyed Horne’s campus residencies. “It’s an amazing opportunity for all of us Oberlin singers,” she says. “I participated in a master class last year, and this year I had a lesson with her as well, and it was extraordinary. I was able to sing arias that I was just kind of trying OBERLIN CONSERVATORY MAGAZINE 2014
on for size and to hear her feedback.” Dominguez recently returned from an intense, two-hour lesson with Horne in New York. “A large part of the coaching centered around selling the aria—how to perform it to make people need to listen to you,” she says. “Ms. Horne talked a lot about the style of bel canto. She said, ‘If you really want to do this type of music, and it suits your voice—which it does—you have to be perfect. Every moment must be carefully timed and beautifully crafted.’”
That striving for perfection, Horne said in her Oberlin chat, has always been essential to her success. And it is what Rubin most admires about her. “She fights for what she wants, but it’s all about her desire to be the best and produce the best,” he says. “She’s not going to put up with something second-rate.” a former bassoon student at oberlin, mike telin is executive editor of clevelandclassical.com. 41