Berlin Opera Academy Emerging Artists Studio
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My name is Juliet Wallace, and I am a young British coloratura soprano, currently training at HAMU in Prague to develop my international career. I would like to apply to the Career Bridges Scheme to help fund my next project at the Emerging Artist's Studio at the Berlin Opera Academy.
This is a month long program starting in mid-June, granted to "exceptional applicants demonstrating vocal talent and professional potential". It is one of the most highly respected young musicians' training courses in the world, and I believe it will be incredibly beneficial to the development of my career across Europe.
I began singing as a soloist at Junior Trinity Laban Conservatoire of Music and Dance, and have since performed as a soloist in concerts across the UK, Spain, France and Germany. My recent operatic credits include the title role of Cendrillon (Massenet) at the Festival de Valois in Provence (July 2016), Cunegonde in Bernstein's Candide (London, February 2017), Titania in Britten's A Midsummer Night's Dream (London, May 2017), and the Queen of the Night in Mozart's Die Zauberflöte at the Weimarer Sommerfest (August 2018).
I have created two roles for composer Lewis Coenen-Rowe, the first of which was a setting of Kurt Schwitters' libretto Collision at Grimeborn Opera Festival in 2017. I also created the role of The Boy in Coenen-Rowe's operetta Last Thursday, premiered in the Collisions Festival at the Central School of Speech and Drama (September 2018). My next role will be the lead 'Estelle' in an operatic adaptation of August Strindberg's 'The Stronger' by Hugo Weisgall, opening at The Jerwood Space near Waterloo in early May.
The Studio offers a daily program of movement and German language classes, followed by intensive coaching sessions from repetiteurs, teachers and directors. We are also given the rare encouragement to bring whole roles to prepare. This is so important as we can focus on the characterisation and stagecraft that is often overlooked in normal lessons or rushed rehearsals where music is prioritised. Throughout the course we will also have group masterclasses and public concerts in which we showcase arias from these roles. This will help my confidence and security with the repertoire and characters as my voice matures and I work professionally in houses.
From a business perspective, we will be instructed on how to build a career in Germany, conduct interviews and auditions with German agents, and leave with professional recordings that can be used for auditions at opera houses and Young Artist Programs, as well as references that will allow me to maintain the international reputation that is so integral to opera.
However, the Studio will cost €1950, which is incredibly difficult to fund on my own. Any donation to aid the cost would be both an honour and a great help.
'No Word from Tom' - The Rake's Progress, Igor Stravinsky
This is a month long program starting in mid-June, granted to "exceptional applicants demonstrating vocal talent and professional potential". It is one of the most highly respected young musicians' training courses in the world, and I believe it will be incredibly beneficial to the development of my career across Europe.
I began singing as a soloist at Junior Trinity Laban Conservatoire of Music and Dance, and have since performed as a soloist in concerts across the UK, Spain, France and Germany. My recent operatic credits include the title role of Cendrillon (Massenet) at the Festival de Valois in Provence (July 2016), Cunegonde in Bernstein's Candide (London, February 2017), Titania in Britten's A Midsummer Night's Dream (London, May 2017), and the Queen of the Night in Mozart's Die Zauberflöte at the Weimarer Sommerfest (August 2018).
I have created two roles for composer Lewis Coenen-Rowe, the first of which was a setting of Kurt Schwitters' libretto Collision at Grimeborn Opera Festival in 2017. I also created the role of The Boy in Coenen-Rowe's operetta Last Thursday, premiered in the Collisions Festival at the Central School of Speech and Drama (September 2018). My next role will be the lead 'Estelle' in an operatic adaptation of August Strindberg's 'The Stronger' by Hugo Weisgall, opening at The Jerwood Space near Waterloo in early May.
The Studio offers a daily program of movement and German language classes, followed by intensive coaching sessions from repetiteurs, teachers and directors. We are also given the rare encouragement to bring whole roles to prepare. This is so important as we can focus on the characterisation and stagecraft that is often overlooked in normal lessons or rushed rehearsals where music is prioritised. Throughout the course we will also have group masterclasses and public concerts in which we showcase arias from these roles. This will help my confidence and security with the repertoire and characters as my voice matures and I work professionally in houses.
From a business perspective, we will be instructed on how to build a career in Germany, conduct interviews and auditions with German agents, and leave with professional recordings that can be used for auditions at opera houses and Young Artist Programs, as well as references that will allow me to maintain the international reputation that is so integral to opera.
However, the Studio will cost €1950, which is incredibly difficult to fund on my own. Any donation to aid the cost would be both an honour and a great help.
'No Word from Tom' - The Rake's Progress, Igor Stravinsky
Organizer
Juliet Wallace
Organizer
England
