ARTSblog

Zack Hayhurst

I recently returned from an extended stay in Cooperstown, New York. No, I wasn’t there for the Baseball Hall of Fame, or the charming Amish handicrafts. Rather, I was there from mid-May through the end of August on an arts administration internship with the Glimmerglass Festival. Specifically, I worked with the Young American Artists Program (YAAP), and its phenomenal director, Michael Heaston.

When one thinks of upstate New York, first class opera typically isn’t the first thing that comes to mind. Rolling hills, yes. Charming valleys and cool springs, sure. To some, it is the ideal reprieve from city life and a chance to reconnect with Mother Nature. For burgeoning young opera singers, interestingly enough, it is also an ideal opportunity for them to get away to a place where they can focus and refine their craft, and take their careers to the “next level. Glimmerglass Festival provides this environment.

I learned of the creation of National Arts in Education Week in the midst of working on the details of a master class to be facilitated by composers John Corigliano and Mark Adamo.  It immediately occurred to me that arts education typically has a certain connotation – that of art taught in K-12 classrooms and/or through the educational outreach programs of arts organizations. Seldom do we think of arts education in terms of furthering an artists’ artistic and professional growth. Glimmerglass Opera’s young artist program does exactly that.

While there is plenty of talk in the arts education community about how to get kids and young adults involved and exposed to music and art via incorporation into the general curriculum, there is little talk of how to support those artists who have made it passed the “general interest” stage, and wish to make careers of their artistic ability.  Glimmerglass fosters an environment that affords great singers the necessary elements needed to become phenomenal and internationally renowned singers.

For three months, a select group of approximately 36 singers and 2 coaches/pianists, are afforded numerous performance and training opportunities. The young artists cover professional main stage roles, and in some cases are cast as main stage roles. They are given countless hours of coaching from highly qualified and respected coaches – instruction that, in the “real world”, would cost thousands of dollars. They are also given mentorships with the visiting guest artists and workshops ranging anywhere from personal financial management to proper Baroque style.

On top of all this they are provided with a weekly stipend and free room and board.

In addition to this phenomenal career development opportunity for the singers, Glimmerglass also employs several interns in every department of the company.

Since leaving and having time to reflect on my experience there, it has dawned on me just how vital programs like these are to the support and development of young artists and young arts administrators.  Over the course of three months, I not only grew professionally, but personally as well.  A large part of that is due to the work I was given and the trust instilled in me.  I was treated like an employee, not an intern, and for that I am better off professionally. Equally, I saw singers come in at one level, and leave at an entirely different and higher level, both artistically and professionally.

So, next time you hear about arts in education, by all means, think about the classroom and little Johnny learning his major and minor scales. However, also think about the real world classroom where artists develop their craft and try to navigate a career in a society that collectively doesn’t necessarily understand art as a profession. Think about young artist programs, like the one at Glimmerglass Festival, and the work they do to develop performers at all levels, both artistically and professionally.

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