More and more opera companies, including smaller ones, are establishing opera studios for young singers. Are these singers being exploited as cheap labour, or are they offered a meaningful and gentle introduction to a professional career? The structure of such studios varies widely: sometimes the focus is on masterclasses and coaching, sometimes on “learning by doing”, e. g., singing small roles on stage – sometimes well supported, sometimes less so, and often a mixture of both. There are also major financial differences. Some studios are well funded by foundations, while others pay so little that it is hardly enough to cover a room in a shared flat (a point that every theatre should reflect on).
The transition into professional life as a singer is generally a major challenge: the often existential search for engagements, early morning rehearsals after late evening performances, learning multiple roles in parallel; stage directors and conductors who suddenly demand top performance without regard for the current state of the voice. This will push just about any young singer to his or her limits.
Regardless of the focus of a particular opera studio, such programmes almost always offer experienced contact persons who can provide support when problems arise. Ultimately, however, what matters is how the singers use this time: building networks, observing experienced colleagues, getting to know a great deal of repertoire – ideally not only in opera, but also in other genres and art forms –, expanding their knowledge, recognising actual strengths and weaknesses and working on them. And for that, the opera studio experience is ideal.