Opera Teens Blog

Get to Know our National Council !

By: National Opera Teens Advisory Committee

My name is Julia Noel, and I am a junior at Ruth Asawa School of the Arts. I am a member of the San Francisco Opera Scouts and I am honored to be sharing the title of Co-President of the National Opera Teens Advisory Committee this year. I am fortunate to have had the chance to become fluent in French, Russian as well as English. I began singing at the age of six and I became interested in Opera several years later. It is such an Honor to be a part of this council and being able to represent the San Francisco Opera Scouts.

My name is Addison Littlefield and I am a senior at Messalonskee High School. I am a member of the Opera Maine Teens and am very pleased to be joining the Opera Teens Advisory Committee this year through Opera America. I have been taking voice lessons for six years, but first became interested in opera my sophomore year of high school when I joined an opera workshop through the Portland Conservatory of Music on a whim. I was fortunate enough to participate in Opera Maine’s production of Die Zauberflöte this past summer, and have ultimately decided to pursue vocal performance in the year to come. I am honored to be working alongside other teens who share the same passion towards opera as myself. 

I’m Arya Balian, and I am a sophomore at the National Cathedral School in Washington DC. I’ve always loved opera—from attending operas since I was 5 to performing professionally since I was 7. I was cast in 9 operas with the Washington National Opera (WNO) at the Kennedy Center, including the principal role of Third Spirit in “Magic Flute.” I’m so excited to continue to pursue my love of opera with the Opera Teens. This year, I’m President of my local council, Capital Opera Teens, and am super excited to work with Julia and our dedicated group of committee members as Co-President of the Opera Teens National Advisory Committee. I hope to share this amazing art form with everyone by making it more accessible so that I can help integrate opera into the art lives of my Gen Z peers.

My name is Sophia Ortley-Guthrie and I am a homeschooled junior in highschool.  I fell in love with opera when I was six-years old after an abrupt field-trip to see Madame Butterfly at The Dallas Opera. This past fall, I decided to start the DFW/Texoma Opera Teens council after noticing the lack of classical arts in my rural community. I have been taking voice lessons for the past five years, however, I have focused on choral activities. I am a member of The Children's Chorus of Greater Dallas, ACDA SWAGDA, TCDA, and the Texas All-State Choir. I plan on pursuing vocal performance and communications, with hopes to later receive my doctorate in laryngeal studies. I am thrilled to be a part of this committee with others dedicated to the arts.

My name is Kacie Galarce and I am a senior at New World School of the Arts. I am the president of Miami’s Opera Teens and Blog Editor for the National Opera Teens Advisory Committee. Being a part of these amazing groups have really opened my eyes to view opera in different perspectives. It has connected me with many teens who share the same interest in opera than I could have imagined. Opera Teens has given me an opportunity to connect opera with a younger audience in pursuit to diminish the stereotype that opera is for the rich and elderly. I have been classically training for 3 ½ years. I have performed at the Washington National Cathedral, won first place 1at the Schmidt Vocal Competition, and participated in many Vocal summer programs, including the Schmidt Vocal Institute. I am excited to be a part of this committee and can't wait to see what this year has to offer.

Hi! My name is Miraya Choudhury and I’m currently a junior at Granada High School in Livermore, CA and secretary of the committee. I am a member of the San Francisco Opera Scouts and this is my second year of both Opera Scouts and the National Advisory Committee. I’ve been singing since I was 7 years old and began classically singing at 11. I fell in love with opera and coloratura arias during this time, participating in SF Bay Area NATS Competitions, Contra Costa Classical Festivals and local events such as the Solo and Ensemble Festival. Through my council and the committee, I’ve been exposed to many different operas which I wouldn’t have been able to experience otherwise. This past year has been such a wonderful experience and I’m lucky to have gotten to know such unique and talented people on this committee.

My name is Clemence Yi, and I am currently a junior at Troy High School in Fullerton, California. I am a co-chair of the 90012 Ambassador program sponsored by LA Opera. I have been interested in opera since my parents bought me The Magic Flute when I was five. While I am not a singer, I have participated in LA Opera’s Opera Camp program for seven years. I have been a member and ambassador of 90012 for six years, and I feel honored to be able to serve my community in this manner. I am a proud representative of LA Opera on this council.

By: Daniel K., National Opera Teens Advisory Committee, NYC Opera Teens Council.

My name is Daniel K. and I am the president of the New York High Schools Opera Teens Council. I started this council because I wanted to share my great passion for opera, and to provide a place for other opera lovers in NY high schools to engage with each other.  I was fortunate to sing in the Metropolitan Opera Children’s Chorus and have sung in many operas including solos in The Magic Flute, Tosca, and Werther. Two of my friends from the Met have joined my teen council and we’ve gathered others to participate in opera related activities such as going to watch operas, talking about our favorite plots in some operas, transposing our favorite arias into different key signatures, and singing our favorite arias for each other.

By: National Opera Teen Advisory Committee

  The National Opera Teen Advisory Committee is very excited to be fundraising to attend Opera America’s 2019 Conference in San Francisco this June. Our committee, composed of students who represent Opera Teens Councils from across the country, steers the future of the program. We would like to attend the conference in order to get involved in the conversations surrounding the future of opera. Since many of us hope to become involved in the opera industry in the future, it is important that we are involved in these discussions.

  “I had the opportunity to attend last year’s conference, which was an incredibly valuable experience for me. I learned about the efforts of many opera companies to make the art form more accessible, breaking down barriers that separate people that aren’t well represented in the opera community. I was incredibly encouraged by the conversations that were being had, not only about the issue of diversity, but also of a myriad of other efforts and concerns.”

-Emma Flores, Co-President, Portland ME, 12th Grade

  Sareen Balian, Co-President of the National Opera Teens Committee and founder of the DC opera teens council, Capital Opera Teens, says that she is excited about the conference, “not only because it is worthwhile itself but also because it will give us the opportunity to share what we’ve learned with our peers from our local councils all over the US. I’m grateful to Opera America for its regular and generous support of Opera Teens. I am also especially thankful for Brenda Huggins’ advice and support throughout the years. I’m graduating high school this year, but will carry with me all that I have learned and accomplished through the opera teens initiative. We have made opera accessible to so many of our peers and shared its important themes and messages, which resonate with teens today. Because as we say in my local opera teens council, Capital Opera Teens, ‘Opera is for everyone!’”

-Sareen Balian, Co-President, Washington, D.C, 12th Grade

  “I’ve been involved in opera since I was seven years old and was in my first professional performance. So for me Opera Teens is almost a part of my DNA. I’m so excited about taking my exposure to the next level by being involved in the national committee as Secretary and by attending the amazing Opera America conference in San Francisco. Our fundraising efforts are really important to so many of us and will help us reach our goal of having as many members of the national committee attend the conference. We are excited to learn as much as we can and to bring that back to our opera teens friends at home. Thank you to Opera America, Brenda, and our fundraising supporters for making it all happen!”

-Arya Balian, Secretary, Washington, D.C., 10th Grade

  “Opera is an art form that is fairly new to me, but that doesn't change how quickly I became attached to it. Being a part of the National Opera Teens Committee has opened me up to so many different young students who share the same interest for opera. I think it is important for me and for my peers to represent ourselves at the Conference in San Francisco, as it will allow us to expand our minds about opera and learn what happens behind the scenes. This is a once-in-a-lifetime opportunity that so many of us appreciate. We teens are the future for keeping opera alive and in everyone's hearts.” 

-Kacie Galarce, Blog Editor, Miami, FL, 11th Grade.

  “Opera has been an art form that has been incredibly integrated into my life, and has meant so much to me as I've grown over the years. The National Opera Teens Committee has only helped to grow my love and appreciation of opera, as well as to expose me to a wonderful group of teens that appreciate this art as well. I feel that the opera Conference in San Francisco would be an incredible experience to interact with the world of Opera even further and would serve as an opportunity to spread the committee’s horizons even further.” 

-Maurissa Dawson, Committee Member, Los Angeles, CA, 11th Grade.

  “As a newer member of the National Opera Teens Committee, I was drawn to it to be able to share my interest and love for opera with my peers. From only a few meetings, I’ve been able to see how strongly this group feels about the art form and how profound our want to learn is. Attending the conference would allow us to learn from some of  the most experienced people in the industry and gain insight into what goes on behind the scenes. I believe it’s very important to nurture these interests, as it’s not very often you see a group of teenagers as excited about opera as we are.”

-Miraya Choudhury, Committee Member, San Francisco, CA, 10th Grade

  “I am a new member of the National Opera Teens Committee and part of the SF Opera Scouts. Opera as always been a big part of my life and I always love going to see operas. I am looking forward to going to the conference and expanding my knowledge of opera. This being my first year at the conference I am excited about getting the experience and making memories from it.  I also believe that as a 16 year old it is important to start learning about the real world and the challenges ahead.

-Julia Noel, Committee Member, San Francisco,CA, 10th  

  “Ever since seeing the Barber of Seville when I was little, I’ve been drawn into opera. Participating in LA Opera’s 90012 program and the Teen Advisory Committee has allowed me to see the scope of teenage interest in opera across the country. Being my first year at the conference, I am thrilled at the opportunities such an event presents.”

-Clemence Yi, VP of technology, Los Angeles, CA, 10th

By: Kacie G., National Opera Teens Advisory Committee, Forte Teens

What Does Opera Mean to you?

By: Emma F., National Opera Teens Advisory Committee, Opera Maine

This summer, I had the opportunity to attend Boston University’s Tanglewood Institute. This was a very valuable experience, as I took classes in music history, theory and diction, as well as participated in many other performance-oriented activities. One of the reasons that this summer was so special, however, was because I was at Tanglewood during the Bernstein centennial. Bernstein spent a significant amount of his career giving concerts at Tanglewood, so the Bernstein centennial was well celebrated there. I saw many concerts featuring Bernstein’s works as well as learned about him in my classes and sang some of his works. I was delighted to learn so many things about Bernstein and not only about his musical legacy but the impact that he was able to make through his humanitarian efforts.

Leonard Bernstein was one of America’s most prominent composers, conductors and advocates for music. He is known for his ability to compose innovative works in a variety of genres, as he composed incredibly popular musicals, operas, ballets and symphonic works. Besides being incredibly innovative in his own compositions, Bernstein dedicated himself to educating the public about music and the composers that came before him. As one of the greatest conductors of his time, he approached each piece that he led with a great amount of respect and appreciation.

Like most composers, Leonard Bernstein’s compositions were significantly impacted by his experiences. When he was young, Bernstein was deeply discouraged from pursuing music by his parents, especially his father. Bernstein was born to Russian-Jewish immigrants that doubted the viability of a career in music. Because of this conflict, he continued to have a rather strained relationship with his father. Similarly, Bernstein struggled with his faith in another significant figure in his life: God. Bernstein’s life and thoughts informed the pieces that he wrote, as seen in his “Mass”, which is perhaps one of the most innovative liturgical works composed in recent history. When the piece was written, Bernstein faced controversy, as he was under investigation by the FBI for being a “subversive” during the Red Scare. As a Jewish artist born to Russian immigrants, the public quickly assumed that he was a communist. The untraditionally chaotic and somewhat dissonant nature of the piece reflects his struggle with religion as well as his identity as an American while being under attack by his own country.

Bernstein continued to concern himself with sociopolitical issues throughout his life, writing “Halil” in 1981 for a flute student that died during the Yom Kippur War, conducting concerts marking the 40th anniversary of bombing of Hiroshima and Nagasaki, giving benefit concerts to raise money for research being done on AIDS and a giving a celebratory concert to commemorate the fall of the Berlin Wall in 1989. Some of Bernstein’s most important work was also in his efforts towards educating youth about music and bringing classical music to the masses. Bernstein brought the music of composers that came before him to the public with his “Young People’s Concerts” that were broadcast from the New York Philharmonic from 1958-72. Of his educational efforts, Bernstein said, “children must receive music instruction as naturally as food, with as much pleasure as they derive from a ball game, and this must happen from the beginning of their lives.”

By: Emma F., National Opera Teens Advisory Committee, Opera Maine

This past week, I was very lucky to be able to represent the Opera Teens at OPERA America’s 2018 Conference.  I was able to get there because of the hard work of Brenda Huggins, Opera Teen Coordinator and OPERA America Learning and Leadership Manager, Caroline Koelker, Opera Maine Executive Director, and many others.  Having representation from teens at this conference is important, as they are the future audience and workforce for the opera industry.  Making teens aware of the issues that opera faces and incorporate their perspective into finding solutions is very valuable.  While I was the only Opera Teen at this conference, hopefully this will pave the way for more teens to be able to join the conversation in future years.

This experience was made so much more valuable by the fact that I got to present to the education directors from various opera companies in a roundtable discussion about education and community engagement.  I shared our mission statement and how we strive to empower students to pursue their own interests in opera as well as share their passions with peers and the community.  I also shared my experience with the Opera Teens and the impact that the program has had on my life; showing me the power of opera and how it appeals to teens as well as giving me a group of peers to share my passion with.  I have become integrated into the opera world in a way that I never would have imagined, participating in master classes, interviewing opera professionals, working with a team to solve problems that we see in the opera community and doing so much more.  Ultimately, it was this program that caused my fascination with opera and my decision to want to become involved professionally someday.  Many of the people in that roundtable discussion were not aware of the existence of the Opera Teens.  Hopefully this will prompt them to try to engage teens in their communities through starting an Opera Teen council.  There were also many education directors that had existing Opera Teen councils, which may have benefitted from hearing the impact that the program has had on one participant.  I am very grateful to have been given the opportunity to speak at this conference and spread the word about the Opera Teens and the important work that is being done.

Some of my favorite sessions that I attended were the keynote presentation, “Equity Begins with Access to Training” and “Arts Integration: STEAM”.  The opening presentation featured opening remarks from Opera Theater of St. Louis Executive Director, Timothy O’Leary; OPERA America CEO Marc Scorca; and many others.  John Adams, composer of such works as “Nixon in China”, “The Death of Klinghoffer” and “Doctor Atomic” gave a keynote presentation.  Each of the speakers in this presentation focused on the future of opera, how we can engage more diverse audiences and create a more diverse workforce and how this is being worked on now.  This was on theme with the rest of the conference, as many of the sessions that I witnessed dealt with those themes.  At the “Equity Begins with Access to Training” session, speakers discussed how to create a more diverse opera community in which everyone feels welcome through exposure.  Tracy Wilson of the Cincinnati Opera shared one of the most inspiring stories told in this session, sharing how she once invited two African American children into a performance, and those children grew up to be opera lovers.  By creating opportunities like these and breaking down the barriers that separate people that aren’t represented very well in the opera community, so much progress can be made.  At the “Arts Integration: STEAM” session, panelists discussed the importance of integrating the arts into science education and the ways in which opera companies help schools bring the arts into their curriculums.  As a student in high school, it was interesting to reflect upon the ways that my own education could be enhanced through the integration of the arts into science classes.

By: Emma F., National Opera Teens Advisory Committee

Kurt Weill’s classic Threepenny Opera tells the tale of a “Mack the Knife,” a notorious gangster, and the quest of Mr. and Mrs. Peachum to bring him to justice. The piece satirizes opera itself while also examining the morality of life in the slums. It is exciting, raunchy and easily adored by audiences. The Boston Lyric Opera’s sold out run of this underperformed opera was very well received.

It opened with a chilling rendition of the “The Ballad of Mack the Knife,” with Daniel Belcher miming the stabbing a group of hooded figures. This was one of the most memorable parts of the performance, as James Darrah’s staging reflected the eerie tone of the song well and prepared the audience for the rest of the performance.

Also adding to the chilling performance was Julia Noulin-Mérat’s colorless and minimalistic set. This set, as well as Charles Neumann’s costume design, helped the audience to focus on the overall message of the piece, rather than trying to associate it with any one time. With the current state of the world, morality is a very relevant issue that fits into any setting.

The cast’s ability to commit themselves to their characters was the most impactful part of the production. Before the performance, Michelle Trainor, in character as Mrs. Peachum, yelled at the audience about silencing their cell phones and set the mood for the strong characters that were seen in the performance. While Kelly Kaduce’s Polly Peachum was hardly the type of lead soprano that is seen in operatic productions, her gritty performance helped to execute Weill and Brecht’s mission to satirize opera.

Some thoughts from the National Opera Teens Advisory Committee...

“Performing opera is one of the most challenging and exciting things that I do. Classical singing is incredibly rewarding because it allows me to both explore a character and interpret the music and text. Through this exploration, I am often able to take on a new persona and act completely differently to how I would in my regular life. Watching performances is equally as important to me. When I go to the opera, I have the fortune of getting wrapped up in the elaborate stories, costumes, characters, orchestra, set and singers for a few hours. I can think of no other art forms that allow me to have such a rich experience.”  -Emma F.

“Many people say that the arts change lives. Although a common expression, it is true: exposure and participation, as a performer or engaged audience member can affect one’s life greatly. I see it as Co-Founder of my opera teens council, Capital Opera Teens, when we bring people to see operas, sometimes for the first time. They are blown away by the incredible music and voices, the costumes, the setting, and the stories. “Carmen” is just universally cool, and any Mozart opera can make one tap their feet and hum along. The more modern operas are challenging, but, for example, “Turn of the Screw” can haunt a person, leading to many debates and discussions about the responsibility one has for the next generation.” -Sareen B.

“I love that opera is expression, voice, instrument, choreography, difficulty, spectacle. I love experiencing the fairytale land in Mozart’s Magic Flute, even if I’m the youngest audience member. I love the soaring voices, the symbolism, the quest, and, yes, even the crazy birdman. Whether the story is about a group of penniless artists who still manage to discover some joy in their lives (Puccini’s La Boheme) or about finding forgiveness for a forbidden love (Massenet’s Werther), each opera is a transformative emotional event. I don’t know whether I will leave an opera elated or heartbroken.” -Nareg B.

By: Samuel K., National Opera Teens Advisory Committee

A singer lay in his dressing room, unconscious, due to a massive cardiac arrest. As the angelic voice of Russian soprano, Evelina Dobrečeva flooded the backstage PA, her aria was the accompaniment to his death, I thought. I witnessed it all.


I joined the Cincinnati Opera as a sixteen-year-old trainee and spent one summer working administratively in its Rehearsal Department, and a second summer assisting and shadowing Artistic Director, Evans Mirageas. As a high school student with a passion for the performing arts, I worked in tandem with the greatest in their fields. We spent each summer working toward a common goal: to put an opera on the stage.

The night of the final dress rehearsal for the 2016 season jewel, a multi-million-dollar production of Puccini's Tosca, was especially memorable. Though the performance had no audience, I asked for singers’ last minute needs. In broken English, the star soprano asked for a sip of water. I was given the nickname “The Soprano Whisperer” by my senior coworkers and found the fiery Russian her much needed refreshment. I felt pride in that task. There is no job too small, especially in theater. When the PA pushed Evelina’s voice through its speaker, it was divine. I can’t help to think that my water helped produce that sound.

That night, another noise echoed the hall. It was a deep cry, from the far dressing room, “He can’t breathe!” I knew something was wrong. My boss and I quickly sprang into action. “What do you need me to do?” I asked. She told me to keep the hallway clear so the paramedics could get through. The dress rehearsal continued, as singers made their way to the stage. I directed them accordingly. There is no job too small, especially in a time of crisis.

Everything happened at once. Above us all, the voice of Evelina could be heard. The juxtaposition of her glorious aria to the reality of a man clinging to life before me was surreal. Suddenly, I saw the Artistic Director of the opera. He bade me a good evening and slipped into a nearby office. Opening his book of contacts, he called singers from across the country that could board a plane and assume the role in forty-eight hours. I listened in awe. After two phone calls, the role had been filled.

Twenty-eight minutes of consecutive CPR passed; the singer lived. You learn a lot about yourself in a crisis. I was mindful, alert, and remarkably calm. That night is seared into my memory. I’ll never forget the stagehand that breathed life into another or the leader of a company that asked for replacement singer on short notice and received the answer “yes.”

“I want to be in a position of influence,” I told myself. “I want to be a decision maker in the arts. ” The next year, I requested to have Cincinnati Opera Artistic Director, Evans Mirageas, as my mentor. He agreed, and I learned all about running a company. I observed rehearsals, had a voice during production meetings, learned how to write grants, hire artists, and plan an artistic budget. I attended and helped manage events, spoke to major donors and even served as the guest panelist during an “Opera Insights” seminar. Above all, I gained a new love and respect for the art of opera. Totally engrossed in its world, it was my internship with the Cincinnati Opera that inspired me to form a Teen Opera Council at my high school. Opera had given me so much that I felt compelled to give back to those around me.

By: Sareen B., Capital Opera Teens, National Opera Teens Advisory Committee

This fall, the Capital Opera Teens were lucky enough to see the In Series Opera Company’s Magic Flute. Performed at the D.C. Scottish Rite auditorium on 16th Street in downtown Washington, DC, the show was intimate and youthful and lovely! AND hilarious.  My younger sister, Arya, was one of the Three Spirits (she has also performed this role with the Washington National Opera and in the Siena Music Festival) and was terrific—as was the entire cast.

The director, Rick Davis, created a “backstory” for these performances that was truly funny: 

There is a scrappy opera company in the 1930s, which has little funding (it's the Depression) but lots of spunk. The group is actually ready to perform “Il Trovatore,” but then the orchestra starts to play the “Magic Flute” overture! Lots of hilarious antics ensue, with the opera company members running around frantically trying to gather costumes and props to put on Mozart’s “Magic Flute.” They even grabbed Arya out of her seat, who was pretending to be a regular audience member!

Magic Flute is a fantastic opera—and I mean full of fantasy, with bird people, an evil queen, magic instruments, and of course a handsome prince and a beautiful princess. The In Series took that fantasy and made it so accessible to the audience. All ages could appreciate the casts’ antics. But the acting was not the only superb element—the show was beautifully sung. Pamina’s voice, for example, was so pure and beautiful that we were mesmerized. Of course, Tamino, Papageno, Papagena (who, in a cool twist, played the First Spirit), The Queen of the Night (her coloratura arias were incredible) Sarastro, the Three Ladies, The Three Spirits, Monostatos, the Priests, the Servants, and truly every last performer had strong, gorgeous voices.

The setting was PERFECT for this opera. It was in a Scottish Rite theater that has been in use for nearly 100 years—in fact, some of the backdrops were originals from the 1930s. They were painted so vividly and, of course, there are many references to Masonic rituals in the opera itself, so this helped create a unique experience.

The smaller-sized orchestra, conducted by Stanley Thurston, was fantastic, with each instrument having a role in the show as well.

I think the best part of the opera was that the audience was enjoying itself from the very opening. There was non-stop laughter and joy. And appreciation for opera, from the 6-year-old who exclaimed, “Mommy that Queen is sooooo mean, but she’s such a good singer!!” to the elderly couple who said they had seen maybe 15 Magic Flute performances all over the world, but this was their favorite.

By: Emma F., National Opera Teens Advisory Committee

Puccini’s Tosca is one of the most iconic operas ever written. The Boston Lyric Opera’s (BLO) recent production was unique and compelling. It’s sold out run was extremely well received.

One of the most notable aspects of the production was, of course, the singing. The singers were absolutely stunning. Jonathan Burton’s Cavaradossi had a voice that was rich and powerful. Daniel Sutin’s Scarpia was very convincing. The character was just as it is supposed to be: slimy and immoral. Elena Stikhna was “a true gem” in the title role (South Shore Critic). Her Vissi d’arte was simple yet expressive and beautiful.

The set was innovative, as the orchestra was on the stage, sitting on a large platform. The singers were also staged walking across this same platform, with only a sheet separating them from the orchestra. This was very interesting to see because of how frequently in opera there is a disconnect between the singers and the orchestra. While the set was interesting, there was no large window in the back of the set for Tosca to jump out of in the last iconic moment of the opera. Instead, she shot herself. This was slightly disappointing because of how important that moment is.

By: Emma F., National Opera Teens Advisory Committee For high school students who are considering studying music in college, summer music programs can be a great way to get prepared. These programs show what it’s like to be able to have days where you study music constantly and are a good indicator of what going to a conservatory would be like. This summer, I had the opportunity to study at the Brevard Music Center.

My time at Brevard was educational, exciting, but above all, inspiring. As a prospective vocal performance major, I am frequently reminded of the dangers of pursuing music. While my family and friends are all very supportive, sometimes it feels as though I am told not to follow my dreams far more frequently than I am told to follow them. I rarely have the opportunity to speak with thriving performers, teachers and composers. However, at Brevard, I was surrounded by them. These are my ultimate role models - people who decided to do what they love simply because they can’t imagine themselves doing anything else.

This experience didn’t only motivate me to pursue my passions - it also made me a much better musician. Access to regular concerts deepened my appreciation for orchestral music; daily music theory or history classes increased my knowledge about music and prepared me for those types of classes in college; daily voice lessons, acting classes, and sitting in on masterclasses strengthened me as a performer.

This experience was also exciting because of the numerous experiences with opera that I had. I was able to attend a performance of Weill’s Street Scene - which has become one of my favorite contemporary operas - as well as a concert dedicated to Gilbert and Sullivan. I performed in a solo recital as well as an opera scenes recital, where I myself had the opportunity to sing in several scenes from Gilbert and Sullivan works. I also had the opportunity to perform in my first Verdi Requiem under the baton of Joann Falletta and alongside world renowned musicians such as Ryan Speedo Green.

Love opera? Want to encourage more teens to give opera a chance? Want to join a national leadership committee that runs the national opera teens initiative? Want to work with industry leaders at Opera America and meet other “opera teens?” Apply to join the National Opera Teens Advisory Committee! Below is the link and more information. 

ALL ABOUT THE NATIONAL OPERA TEENS ADVISORY COMMITTEE

Apply online before August 28, 2017:  

https://goo.gl/forms/o3cW4VlWmsd0718z2

WHAT IS IT?

The National Opera Teens Advisory Committee is a group of representatives from active Opera Teen Councils who will help shape the national direction of the Opera Teens program and initiative.

Advisory Committee Roles (some already filled)

VP, Fundraising

VP, Council Services 

VP, Event/Program Planning

Additional Roles Based on Your Interests!

WHAT DO THEY DO?

Members of the Advisory Committee are responsible for contributing toward the Opera Teens communications to the Councils and the field. They also work on various projects throughout the year including, but not limited to, interfacing with opera professionals, editing and writing for the opera teens blog, supporting Opera Teens Councils across the nation, and planning events.

HOW OFTEN DO THEY MEET?

The Advisory Committee meets for an online video conference once a month during the academic year. Each member must also dedicate a number of hours to their projects each month that varies depending on their role.

WHY SHOULD YOU APPLY?

As a part of the Advisory Committee, you will be a part of the development of a national initiative from the ground up. You will gain leadership and arts administration skills. You will meet industry leaders. Lastly, and perhaps most importantly, you will help make decisions for the Opera Teens program and influence the direction of the national Opera Teens movement.

DO YOU NEED PARENTAL PERMISSION?

Yes, if selected, committee members will be given a permission slip and a media contact release.

WHAT ARE WE LOOKING FOR?

Ideal Committee Members will be active members of a local Opera Teens Council, dedicated to the national Opera Teens initiative, opera enthusiasts with a passion for learning about the industry and art form, and leaders who have already demonstrated abilities to work well with peers and take initiative.

HOW TO APPLY

Applying is easy! Answer the questions on this form so we can know more about you:

https://goo.gl/forms/o3cW4VlWmsd0718z2

By: Frances C., Boston Teen Opera Club; National Opera Teens Advisory Committee

By: Caroline H., Capital Opera Teens

The Capital Opera Teens went to see the Washington National Opera's production of Madame Butterfly in May. Our experience was extraordinary!

As we sat in the Opera House at the John F. Kennedy Center for the Performing Arts waiting for the curtains to rise, we were almost mystified watching a world of vibrant colors come to life on the set as if splashes of paint were being thrust onto an empty, dark stage before our very eyes!  There was so much to see, mostly in the colorful costumes, umbrellas and the larger-than-life screens that depicted images of the sun rising and setting, the clouds moving, ships coming into harbor and much more!

The opera was so visually exciting! The best use of the artistry on the ceiling-to-floor screens was in the last, most dramatic scene when Madame Butterfly (spoiler alert) kills herself.  There was a white screen behind her and she stood facing the audience. When she stabbed herself, the blood that flowed was portrayed first as a small red dot in the center of the tall white screen.  As the blood spread, this was depicted by the red spot getting larger and larger until it grew to the proportional size of the red dot at the center of the Japanese flag. Then it stopped and for a while she sang with the depiction of the Japanese flag behind her.  But when she stabbed herself again, the red at the bottom of the dot, started to seep down in several trickles as if blood was slowly dripping from the dot on the flag. The art director is a genius!

As tragic as the story is, it was so fascinating to watch how the director chose to tell it and it even had some funny moments that allowed audience participation through laughter.

The music was beautiful; the orchestra was outstanding.  Shout out to the trumpet section! 

The boy who played Madame Butterfly's son played his part so well.  He looked so young (maybe age 4) that it was hard to believe that he could remain so composed.

Finally, the costumes, make-up and hair complemented the storyline so well that I felt transported to Japan.  I loved the costumes!

By Nareg B., Capital Opera Teens; National Opera Teens Advisory Committee and Caroline H., Capital Opera Teens

Sareen B., Co-founder of Capital Opera Teens (COTs) and her sister Arya B. sang the Star Spangled Banner at the last Wizard's game of the regular season, Saturday April 8, 2017. It was Fan Appreciation Day, with a sold-out crowd of over 20,000 people at the Verizon Center! 

Members of the COT Executive were there to cheer them on. Mrs. Alicia Hatcher, a strong supporter of the COTs, was also there. Both Sareen and Arya have sung multiple times with the Washington National Opera Children’s Chorus, so their training is in opera, of course! They were fantastic, and we are really proud of our fellow COTs! 

By: Sareen B., Capital Opera Teens; National Opera Teens Advisory Committee

CITIZEN ARTIST

The idea of a Citizen Artist has taken hold in our country, and I am happy to say that many people—on both sides of the political spectrum—still believe in its transformative power.

There are many Citizen Artist institutions and initiatives. To define these, for example, Yo-Yo Ma, the Citizen Artist Fellow of the Kennedy Center, said that “[Citizen Artists’ Initiatives] transcend technique in order to seek out the truths in our world in a way that gives meaning and sustenance to individuals and communities. The Kennedy Center Arts Summit put it most clearly, by stating that Citizen Artists’ initiatives are: “using the arts to influence positive change in people's lives.”

ART IS IMPORTANT FOR TEENS

As teens, we are still learning and still trying to find our place in society. We are forming our opinions and establishing our approach to life. It is therefore critical that we are exposed early and often to the transformative power of the arts.

And through the work of Citizen Artists, we can make sure teens are part of the arts world.

Many teens cannot afford to attend a live concert or opera performance. But, Citizen Artists work with organizations and institutions to support students and teens like my mom, who had to graduate college in three years to save money, obtain thousands of dollars in loans, and work while also a full-time student. A strong advocate for the arts now, my mom is grateful to this day to her college, Columbia, and to the arts organizations for the opportunities they gave her.

The idea then, is that exposure to art is life-changing and life-fulfilling.

MAKING ART—PARTICULARLY OPERA—ACCESSIBLE TO ALL

Citizen Artists help ensure that exposure to art is not limited to a select few. Understanding that there is a financial component to productions; that opera, for example, is truly expensive to produce, no matter what the scope of the production is, all Citizen Artists must work to bring together those who can and will support the arts with all of those who can benefit most from it.

To that end, our opera teens council Capital Opera Teens, supported by Opera America, finds opportunities for its members to attend operas that are either free or low-cost. The Kennedy Center Education Department has been incredible in giving us free passes to opera rehearsals, and other opera companies that we have contacted have also been helpful in our mission. The In Series Opera Company, for example, provided us with deeply discounted tickets last year. We have also been fortunate to have supporters in our community who have funded dinners for us and hosted us at locations in the DC area. And there is no membership fee of any kind to join.

I have dreams of bringing opera to everyone, all the time, so I have reached out to schools, music teachers, parents, and more. But it is a difficult road. Often, people are too busy to respond. But once they see the impact opera has on teens, they are moved.