Pursuing the performing arts

World-renowned opera singer Renée Fleming is concerned about how I sleep at night. 

OK, that's not exactly true. But she offered some strong opinions on performing arts education earlier this summer at the Voice Foundation Annual Symposium in Philadelphia. Here's what she said: 

Given the climate right now for opera and classical music performance—which is what I know—I think there are far too many universities and colleges taking money from young people who shouldn’t be. I’m sorry, but it’s true. And what’s criminal about it is that . . . I mean, somebody recently said to me there should be an antitrust suit. These kids will all have debt—terrible debt—when they get out of school.

I used to give master classes at small schools—I don’t anymore—but I’ve done it. And sure, there’s the occasional miraculous talent. But even those students, if they don’t get on the right track quickly, by their late 20s, the possibilities start to decline significantly.

And then I hear people who really have no business majoring in voice—but the schools take them anyway. I once asked someone at a major conservatory, “How do you sleep at night?” I know that was a bit harsh. But he said, “Well, you know, a lot of people use that degree to go on and then major in something else.” And I thought, Wow. Given what secondary education costs, that’s a bit rich.

I know that this is what she said because I was there when she said it. Literally, I took this picture (that's her on the right): 

As often happens at these conferences, you take in a lot of information and hear some big ideas. But, as also happens, the daily schedule is so packed that you can't linger too long on any one presentation because there are so many others to get to. So, I remember having some thoughts on what she said, and I had a brief discussion with some colleagues as to their thoughts, but then we moved on. 

A couple of months later, however, author Norman Lebrecht published Ms. Fleming's comments on the classical music website Slipped Disc. After that, it was widely shared on social media, which really got people talking. 

First of all, I have a tremendous amount of respect and admiration for Ms. Fleming. I have seen her perform live many times (in operas and in concerts) and I own several of her CDs (yes, CDs) that I still hang on to even though most of those recordings are available digitally now. So when she speaks about her experience as a professional in the industry, I generally listen. But, of course, people can have different opinions. 

Second, it's important to note that she is talking about people who study classical performance in college. Classical music audiences have been shrinking for some time. Tuition at many of what are recognized as top conservatories is usually quite high. So it is wise to consider the full value of that education and the prospects of professional success, which are often less guaranteed for performance majors than for those who choose other fields. So cost/benefit considerations are a crucial factor when making such a big decision as where to go to college and what to major in. 

If Ms. Fleming has run into people who are essentially guaranteeing students that they will have performing careers, or misleading them about their potential for success (though that can be difficult to determine when someone is 18 years old, especially when it comes to the voice), then I agree that it would be reckless (or even possibly "criminal," as she says) to make such claims. As we all know, abilities are only one component of sustained success in this field. No one should say, "If you come study at this school, you will have a performing career." 

I do take some issue with a few of her comments, however, that categorically come from my experience (and probably my bias and privilege). I went to a small school for college. To be sure, I have not had anywhere close to the performing experience that Ms. Fleming has had (literally, not even 0.001%). But I also know that my education at that small school absolutely prepared me for my career in music and theatre (humble though it may be), as did my other two degrees in performance (only one of which was from a big conservatory). So I tend to think that even those of us without "miraculous talent" deserve to pursue the field we want and see where it may lead. 

I also understand her concern that college administrators might accept someone with less "talent" into a performing arts degree with the justification that they will probably also major in something else. It seems the assumption is that they will ultimately pursue other career paths. That can feel disingenuous. As university employees, we must be honest about what the field looks like and we have to help students assess their capabilities and their progress in relation to the general expectations of professional success. 

However, I also believe that arts education should be available for everyone who wants to pursue it—especially if they have the volition, desire, and willingness to put in the effort (and get some good sleep as best they can). I believe in this because of the way arts education forms human being while also, yes, making them eminently employable in a variety of fields. 

As I blogged last year at this time, artists learn and practice empathy and authentic communication, and must have a willingness to be vulnerable. Through their performances, artists bring examples of deep beauty and true strength to audiences, which goes beyond mere entertainment or distraction. These skills are desperately needed both in our society and in our places of employment. 

Of course, not everyone needs to go to college. And there are lots of problems with higher education, the most obvious being that it is way too expensive. At the prices many schools are charging, students (and parents) should want to know what skills, opportunities, and jobs that high-priced education might provide. After all, landlords don't accept sonnets in place of rent. It would be wonderful to spend your college years discussing great books, learning world history, creating art, and (even more importantly) building relationships with people who will support you, challenge you, love you, and help you see the world differently. But bills don't wait. 

That being said, if someone wants to study the performing arts, I don't think they should be told they have "no business" pursuing that major. Certainly, both risks and benefits should be considered, and taking on debt that would be prohibitive over a lifetime should probably be avoided. But this is a field worth pursuing, which can provide both a good living and a good life. 

I'm sleeping just fine. 

I'm looking forward to this homestretch of the semester. What final touches are you still hoping to bring to your performances? 

Much love.

-brian