MELISSA WEGNER

Interviewed by Ashley Johnson Lam

The journey of singer development is rarely a preset, one-size-fits-all path. Often, it is more akin to Dorothy’s house being dropped in the Land of Oz – new and defining experiences in technicolor that are both amazing and challenging with a shimmering goal toward the path’s end. And though each singer’s yellow brick road is different, young artists programs (YAPs) are one path that can lead the way to a singer’s own Emerald City. The Lindemann Young Artist Development Program is the one of the most prestigious programs in the world and Executive Director Melissa Wegner, who also oversees the Laffont Competition each year, knows just how impactful these programs can be in a singer’s journey.

The Lindemann Young Artist Development Program was established in 1980 and has had more than 210 artists engaged in its robust program that aims to help artists continue their development and actualize their own artistic acumen. “We’re seeking kernels of world-class artistry that we can help develop,” Wegner says of the program’s intent. But the Lindemann Program doesn’t have pre-defined yellow brick roads. Instead, Wegner and her team work with singers to help each build their own paths by helping singers define what success means to them and create plans focused on providing what each artist nee ds to get to their Emerald City.

“It’s a true development program,” Wegner underscores, “we’re less focused on providing lead roles which is very different from other companies, but it leads to very complex training plans for each artist and allows the plans to be very artist led.” Members of each year’s cohort are given the leeway they need to put the skills they are honing to work in practical application and direct their growth based on the needs of their own calendar’s commitments, including being released for periods of time to engage in performing contracts, tours, and competitions elsewhere. “What we’re able to offer with the Met’s resources is very specialized and I’m very proud of the environment we’ve been able to create where there is a balance between group dynamic and support and individual progress and vulnerability” she adds of a feat that is a journey within itself. After all, we’re not in Kansas anymore.

This tailored environment is one facet that makes YAPs such an impactful path for emerging young artists – much like Dorothy’s squad of characters who each help her make her way to Oz. In general, program participants have completed some level of college vocal study where a base of musical and vocal knowledge and technique is laid. In YAPs, artists are provided experiences and opportunities to begin transitioning their academic mindset into practical application. “YAPs offer a chance for people to explore how they interact with professional expectations when they’re not being graded and are out of their usual structure – they can test out how they want to function as a young professional,” Wegner shares. Young artists are provided more performances experiences in YAPs than are typical in a university setting, from roles to recitals. And with more performance responsibility comes more self-directed growth around how to develop both craft and professionalism.

Another valuable member of the squad for singer development is networking. YAPs offer artists the ability to meet and make peers who can turn into future colleagues, and to meet and work with faculty who can be pivotal to a singers’ growth and success. “I personally did three summer programs when I was in undergrad, and I have colleagues from each one of them who are still in my life. I would say each of them was extremely transformative for me as a singer, expanding my worldview from my undergrad to having a much bigger sense of what this opera thing is all about,” she recalls, leading to another important facet that YAPs offer: a sense of connection. Perhaps most crucial to the world of the professional singer is a sense of connection and community. Could Dorothy have persevered through the entire yellow brick road with a squad of acquaintances? Likely not. It was the relationships she developed that made the difference between travelling as an uncertain individual or a young woman empowered by her team, and YAPs are goldmines for this work. Given the professional singing world’s tendency to be a transient profession, living gig to gig across cities, YAPs offer relationship development that provides a “home base”, as Wegner calls it, that offers a center of purpose and consistency in the face of a lifestyle that is constant change. “I love when I see Lindemann alumni showing up (on social media) at each other’s performances or sharing their excitement to be in the same cast,” she shares seeing firsthand how having a close support squad maintains a sense of community whether near or fa r.

Young artists programs like the Lindemann Young Artist Development Program and summer intensives like the International Lyric Academy provide a valuable set of next steps. But there are important factors to consider, as YAPs are one of many options available. Wegner offers a wise reminder: “Singers should have a good ability to take self-inventory and figure out what they need at any moment of their development, whether applying to graduate programs, a resident artist program, a young artists development program, a studio of some sort which are all different things and it’s important that the singer does enough research to know the differences and compare that with what they do that really well already, what skills still need to be developed, and who they are personally. It’s a lot of work to figure out but it’s helpful in making sure that next step is heading in the direction you want.” And though much of the decision about whether a YAP path is the right one focuses on introspection, there is also the expectation of the program leaders to consider. Wegner, with her Laffont Competition hat on, shares a few insights. “We’re looking for singers who share who they are in this moment, rather than ask for validation as an artist. We want them to demonstrate their clear love of music-making and its process by stepping onto the stage and showing us the trust they place in their preparation.” In other words, how are you demonstrating your ability to grow into those ruby red slippers?

With a myriad of yellow brick roads for young artists there is much to consider, and it takes considerable self-eva luation and research to match the best opportunity for the desired growth. When a young artist development program is chosen as the appropriate next step, technicolor is turned on enabling a bloom of artistic and professional growth and helping develop and sustain the operatic artform and industry. It is under the leadership of incredible individuals like Melissa Wegner who build programs and opportunities that put tailored singer development at the heart of the work that YAPs can provide for lasting impacts on the trajectory of a singer’s career, no matter how they define their own Emerald City.

LES CONTES D’HOFFMANN MEET THE ARTISTS

LUVO MARANTI

Hoffmann

SAHARA ADAMITZ Giulietta

ZHENPENG ZHANG

Coppelius/Dappertutto Miracolo

ALBERT STANLEY

Hoffmann

HUIYING CHEN

Antonia

AMBER ROSE ROMERO*

Olympia

SO-CHUNG SHINN

Olympia

RUIJING GUO

Giulietta

BETHANY JARGSTORF

Antonia

LUANA BERGER

Tenor

Nicklausse/La Muse

RAMELLE BROOKS* Schlemil/Crespelle

JOHNATHAN WHITE*

Frantz/Cochenille Pitichinacchio

ETHAN STINSON

Spallanzani

FRANK WATNICK Spallanzani

Cast

Olympia..........................Amber Rose Romero So-Chung Shinn (8)

Giulietta..........................................Ruijing Guo

Sahara Adamitz (8)

Antonia/ Stella.............................Huiying Chen

Bethany Jargstorf (8)

Hoffmann.....................................Luvo Maranti

Albert Stanley (8)

Coppelius/ Dappertutto........Zhenpeng Zhang

Miracolo

Nicklausse/ La Muse....................Luana Berger

Schlemil/ Crespelle................. Ramelle Brooks

Frantz/ Cochenille.................Johnathan White

Pitichinacchio

Spallanzani................................. Ethan Stinson

Frank Watnick (8)

Choir............Julien Zhou, Amy Cai, Helen Xie

Allison Fulghum, Erin Klubek

Mariya Chernokhlebova, Kellie Williams

Ashlyn Clark, KaLynn Belton

Mckeila Ortiz, Greyson Griffin-Roberts

Raghav Ramgopal, Eli Lev Shlimotvitz

Emilio Lopez Felix, Adam Daruvala

Thoper Esguerra

Music by JACQUES OFFENBACH

Libretto by Jules Barbier

INTERNATIONAL LYRIC ACADEMY ORCHESTRA

Conductor

JAMES MEENA Director

PETER BOON KOH

Collaborative Pianist

DARIA RUZHYNSKA

Chorus Master

REBECCA STEINKE

Light Designer

HALLIE GRAY

Choreographer

LUANA BERGER

Costumes manager

ALLISON COLLINS

Costumes assistants

LANE MORRIS • BETH KILLION

Stage manager

SARAH WATSON

Set Scenery & Costumes

OPERA CAROLINA

HALTON THEATER

CENTRAL PIEDMONT COMMUNITY COLLEGE

JULY 5 & 8, 2023 ~ 7:00 pm www.internationallyricacademy.com