| Does your son or daughter have a voice that is good | | | | students should then start the preparation for an |
| enough for the opera house? | | | | audition at a recognized Music Academy. These are |
| But before you answer that question, ask yourself | | | | attached either to an Opera House or University, |
| another. Can you recognize an operatic voice before it | | | | depending on where you live. Audition programs for |
| has been trained? | | | | entrance to these institutions can be accessed through |
| There is little doubt the world of opera is an exciting | | | | websites quite readily, but take particular care to |
| place. It can bring fame and fortune to those who are | | | | investigate entrance requirements, especially in the |
| good enough if they are prepared to work very hard | | | | case of a University Music Academy. |
| for many years and then get the lucky breaks. | | | | In addition to preparing a singing program of classical |
| Like any other exacting profession opera singing is an | | | | songs, operatic arias and excerpts from oratorio, music |
| art of discipline, even for the most gifted singer. Not | | | | academies require knowledge of music theory and ear |
| only must the voice be properly trained, but music | | | | training (solfege) for passing an audition. A six months |
| theory and ear training must be studied, roles learnt | | | | program should be sufficient to absorb enough |
| and memorized, foreign languages studied and acting | | | | information from a recognized teacher of music theory |
| perfected. | | | | to pass this test. |
| A parent wishing to guide their son or daughter into the | | | | Additional training is probably optional, but could prove |
| world of opera should first consult with people in the | | | | useful for the future. Many good singers study piano. It |
| business of opera. People whom they know and can | | | | helps them to learn their music without teachers, or |
| trust. Those who really care. It is important to find the | | | | simpy to augment a teaching program with a teacher. |
| right people in the industry, get to know them and seek | | | | Students who enter a Music Academy and study for |
| their professional advice. It is essential that you get | | | | a first or second degree over a period of some years |
| expert opinions about the potential and prospects for | | | | will derive considerable benefit from this formal tuition. It |
| your children from those whose comments and | | | | will pave the way for auditioning in opera houses and |
| judgment you can trust. | | | | with impresarios around the world. In fact, the |
| Given the encouragement from such a person or | | | | competition is so intense that many opera houses |
| persons, the next thing is to find a singing teacher. | | | | won't even bother to audition singers without formal |
| They are plentiful, but don't come cheaply. Look for a | | | | training at a recognized academy. |
| sympathetic teacher with clear communication skills. | | | | So, how long is all this going to take? Probably not less |
| When you find one, outline a teaching program over a | | | | than six years, possibly up to ten for a second degree |
| limited time frame and make sure this schedule is | | | | at an academy. It's a long haul, but given the natural gift |
| maintained. Some teachers take on sudents and just | | | | of your son or daughter, you owe it to them and |
| keep teaching without end goals in sight. Avoid them. | | | | yourself to ensure the voice is properly trained and |
| They're looking after themselves, not your son or | | | | equipped for the onstage debut. |
| daughter. | | | | Should luck play an important part in their career, |
| The initial training period should cover the basic | | | | students must have the ability to get up on center |
| elements of voice production and building a limited | | | | stage at a moment's notice and woo an audience. If |
| repertoire. The early 17th and 18th century Italian arias | | | | they fail, that's probably the end of the road. But if they |
| are an ideal starting program and all reputable singing | | | | are ready and succeed, that a major step up the |
| teachers should be aware of these songs which are | | | | ladder to fame and fortune. |
| readily available in albums, preferably with CD | | | | And that's exactly how some opera stars were born! |
| accompaniment discs for learning purposes. | | | | Maybe luck played an important part, but they were |
| For this part of the early training program, a maximum | | | | ready and when that lucky break arrived, capitalized |
| of two years should be adequate. If the student hasn't | | | | on their good fortune. |
| made sufficient progress in the first two years, | | | | Granted, every parent thinks their son is another Enrico |
| perhaps they don't have the necessary commitment | | | | Caruso or their daughter a second Maria Callas. Don't |
| for such a demanding career. Be honest with them | | | | delude yourself into thinking they are the greatest just |
| and yourself. But be firm. It's your money you are | | | | because they are your children. |
| paying out! | | | | Ask people who know. People who care for your kids. |
| After completing the initial part of the program | | | | |