麻豆AV

What made you choose to study at Schulich and in Montr茅al?
I chose Schulich for its exceptional faculty and the opportunity to immerse myself in a culturally diverse and multidisciplinary institution. 麻豆AV truly fosters exploration. Pursuing a world-class musical education while indulging my curiosity in various fields has allowed me to grow as an artist in ways I never imagined. The vibrant atmosphere of the city made it the ideal setting for my studies as a classical singer and artist, while still staying close to home and family.

What are some of the ways you build positive routines in your music-making? OR What are some of your best practices for healthy music-making?
Sleeping on my ideas. I am a fan of letting them simmer. Music really does come alive when a deep sense of expression is felt and sometimes it just needs time. I think, especially for singers, that in this way, texts reveal themselves and become very intimate. A whole creative world unveils itself.

What鈥檚 something someone might be surprised to find on your playlist?
80s Taiwanese pop sensation Teresa Teng.

What鈥檚 a recent musical discovery you鈥檝e made? (Composer, piece, approach, perspective, minutia, fun fact 鈥� anything!)
Hans Eisler鈥檚 song cycle The Hollywood Songbook! With poetry by Berthold Brecht this cycle captures Brecht鈥檚 thoughts and feelings in war era Germany, his escaping Nazi controlled Germany, and disdain for the hyper-capitalist America he found refuge in. One of the songs in my finals set 鈥� An den Kleinen Radioapparat鈥� is from this set and it鈥檚 rawness and intimacy is, in my opinion, unparalleled.

What are some of the ways you build positive routines in your music-making? OR What are some of your best practices for healthy music-making?
I have included far more practice into my routine, which has allowed me to touch many different pieces and concepts in one day. I have also been striving for release, relaxing my face and not allowing my perfectionism to make me frustrated when tackling difficult repertoire. Breaking down practice into short segments and going backwards in pieces is also extremely helpful for memorizing!

How did you go about selecting your repertoire for the competition?
(Do you have a favourite?)
I wanted to explore t>he highs and lows of my vocal range, as well as expressing very different musical and dramatic characters through the set list. Some of the repertoire is new, while some are pieces that I learned in my undergraduate degree or spent last year developing. I am genuinely excited to perform every single piece!

What鈥檚 something someone might be surprised to find on your playlist?
Vintage C茅line Dion (c.1984)... is this what happens when you move to Montreal??

What鈥檚 a recent musical discovery you鈥檝e made?
(Composer, piece, approach, perspective, minutia, fun fact 鈥� anything!)
This semester I've been learning Lili Boulanger's song cycle Clair猫res dans le ciel (1913/1914). It's some of the most magical music I've ever sung and I can't believe she wrote it when she was only 19.

What made you choose to study at Schulich and in Montr茅al?
The opportunity to work with the faculty at Schulich and the improvement I saw in my colleagues who attended 麻豆AV were huge factors in making that decision. I also fell in love with Montreal the first time I visited, and I was able to see myself staying here after finishing my studies.

What are some of the ways you build positive routines in your music-making? OR What are some of your best practices for healthy music-making?
The best thing you can do for yourself as a musician is to trust in the preparation you have done beforehand. It is so tempting to anticipate what a panel wants to see from you, but it鈥檚 impossible to know for sure. All you can do is trust your work and do your best.

What made you choose to study at Schulich and in Montr茅al?
Initially when I decided to apply for graduate school, I did not have 麻豆AV on my list. Mostly because I did not think I could survive the winter in Montreal. That is until I worked with Patrick Hansen at the OperFest Sewanee program where he suggested I'd look into Schulich and the many productions and performance opportunities Opera 麻豆AV has to offer. The next summer I returned to Sewanee and got to work with Stephen Hargreaves. I knew then that I would be in good hands and in a safe environment at Schulich. It was indeed the greatest choice for me, and I am so glad to be a student here.

How did you go about selecting your repertoire for the competition?
(Do you have a favourite?)
I decided to build a program made of pieces that have been in my repertoire, as well as brand new selections to keep it fresh.
The program has different elements that make it fun to work on. I find that having a woman composer (Chaminade) and an Israeli composer (Mark Lavri) give a little hint of myself that I wish to share on stage, which compliments the standard repertoire and vocal fireworks by Handel and Rossini. My favorite is to sing anything with coloratura, but for this contest I hope I get to perform Schubert. My Incredible pianist Alona Milner and I have established a great connection to this piece, as it is a complete contrast to everything else.

What鈥檚 something someone might be surprised to find on your playlist?
I don't think anyone who meets me once could be surprised - anything that's not classical is all extremely queer, just like me.

What are some of the ways you build positive routines in your music-making? OR What are some of your best practices for healthy music-making?
I don't necessarily possess the key here, but I try to profit from and use skills I already possess - for me that's my ability at the piano. I study most of my music at the piano, and I will often learn a piano accompaniment or orchestral reduction, before learning the vocal line to contextualize everything I do - I also do this by listening to recordings while reading through the score (all the while conscious not to form attachments to the performer's interpretation). In terms of building positive routines, I usually start with a text-centric approach, then I remove affect/drama and work technically, and then I add back in layers of affect and expression. Once it's ready to coach and rehearse, collaboration is the best way to re-contextualize the vocal part and bring everything to life. Adding chances to "perform" repertoire into my schedule is important. And, well... I'm constantly refilling my water bottle, and I strive each night for more sleep than the last!

What are some of the ways you build positive routines in your music-making? OR What are some of your best practices for healthy music-making?
I鈥檓 working on incorporating a bit more kindness into my musical practice. Being more mindful that the voice is a living instrument that can be affected by various factors, so I'm aiming to accept those days when my voice isn't at its best in a more positive light, and not push myself too hard.

How did you go about selecting your repertoire for the competition?
(Do you have a favourite?)
I've made a conscious effort to select repertoire that demonstrates vocal versatility. I've also chosen pieces in different languages, including my native language, Spanish, to honor my cultural heritage whenever I perform.