Junior voice performance major Aaron Bigeleisen, this summer at the Colburn School’s Songfest, with pianist Nathan Harris.
Eastman prepares us to do great things. It says so right there in the admissions packet. So, in addition to the education we receive, we are encouraged to go out and explore performance opportunities during the summer. As part of our student summer blog series I interviewed Aaron Bigeleisen, a junior vocal major, to talk about the incredible summer he experienced.
What did you do this summer and for how long?
This summer, I was fortunate enough to attend Songfest, an art song program that is based at the Colburn School in Los Angeles. It was a four-week intensive program where the average day began at 9:30 a.m. and concluded at 9:30 p.m. We only had Sunday mornings off, so for six and a half days this is how it went. I was worked harder than I ever have been before, besides a few tumultuous tech week/essay/theory project perfect storms this past year at Eastman.
What made it fun?
A few factors made the work seem like play: the intensity, capability, and devotion of the faculty, and the inspiring nature of the participants. When a world-famous composer, coach, or performer was on stage giving a master class, you gave your all. It seemed to be expected of you, but never said. It was glorious to revel in this atmosphere of musical intensity, breathing artistry from dawn till dusk, seeking rest only to recharge for the next event, or the next conversation you might have with a teacher or with a fellow student. Despite the material being incredible, it was the people that truly made Songfest a memorable experience.
Aaron in a masterclass with the famed collaborative pianist Martin Katz.
What opportunities has this opened for you? Why was it important?
The artistic support was fostered by a faculty whose talent is unmatched. While at Songfest, I had the opportunity to work with people like (in no particular order) Dawn Upshaw, Martin Katz, John Musto, Amy Burton, Ann Murray, Graham Johnson, Jake Heggie, Libby Larsen, Margo Garrett, and many others, whose names I can’t remember but whose teachings will never leave me. The first few days, I was star-struck and nervous; I soon realized that while these powerhouses certainly lived up to their reputation in terms of expectation and talent, their attitude towards me was one of a friend or colleague educating another. Besides this, I have stayed in contact with many of these faculty members, and I know that if I were in need of musical or artistic assistance, I would only have to reach out to get it.
The connections certainly do not stop there, however. One of the greatest assets of Songfest is that the student body ranges in age from 18-year-old first-year-to-be, to professional performers and teachers who are still ready and open to learn. I worked with many different student pianists while there, which was a great way to learn how different collaborative pianists interpret their music and their role within this music. I also have a network of student pianists who I know I can contact, to seek advice, and to work with in the future. In fact, Chris Kayler, a current DMA in collaborative piano whom I performed with this summer, is working with me this year. As you can see, this program as provided a network that encompasses many facets.
How has Eastman helped in your preparation for this summer and how has this experience helped in your preparation for Eastman?
I briefly mentioned the schedule that the busiest of us had while at Songfest, from 9:30 to 9:30, with few breaks throughout the day. While this might sound harrowing, intellectually and vocally, I can assure you it is anything but. The program is designed so that you sing a good amount, but not even as much one might sing at an average day at Eastman with Chorale and opera rehearsals. However, the variety and amount of information that I received was almost overwhelming, whether it be regarding the history of the composer or music, vocal technique, collaborative tricks and emphasis, or any myriad number of golden bits of information that make up a capable professional singer. I was a furious note taker, and I look forward to drawing on that information for years to come.
It may become evident to you by now that I felt well prepared, and aside from the never-ending adrenaline rush of captivating work, I never felt truly overburdened. This is because of the first-class preparation I have received, and continue to receive at Eastman. Not only is Eastman musically rigorous, it prepares you for being able to consume and process great deals of information that is vital to a musician and his career. Without this comprehensive honing, I know I would have felt a far greater weight in dealing with the incredible amount of material and expectation thrust upon me.
Any other information about the summer you wish to convey?
Certainly, I must also express my most profound thanks to The Friends of Eastman Opera, who provided me with a scholarship that allowed me to go to Songfest. I have never felt such gratitude. It is an uplifting experience to know that there are people in our community who value the development of artistry and musicianship to such a high degree; the willingness to support us during our summers and our bittersweet time away from Eastman, is truly admirable.
— Andrew Psarris (BM ’15)