Not Over ‘til the Fat Lady Sings
Donation protected
Have you ever wondered where the phrase, “It isn’t over til the Fat Lady Sings!” comes from?
If visions of a buxom lady with a Viking helmet yielding a staff are flashing through your mind, you are on the right track. The finale of Richard Wagner’s epic Ring Cycle is proceeded directly by a 20min long farewell by Wotan, King of the God’s, daughter & valkyrie Brünnhilde as she returns the precious ring to the Rheinmaidens from whom the gold was stolen before committing suicide on her lover, Siegfried’s, funeral pyre.
This cornerstone of the operatic repertoire is orchestrated for a army and therefore takes voices of significant substance to carry over the instrumentation.
Unfortunately, until recently, the opera apprentice system in America has left little room from hochdrammatisch or high-dramatic voices. In the education system, the singers attention is drawn to marketability first and foremost. This is in regards to their voice, as well as the shape of their body. One must sing Mozart, early bel canto rep or perhaps even “hide out” in a different fach or voice type all together throughout their 20s.
Young Artist Programs (YAPs) which are thought to be the next logical step of the education/apprenticeship path for classical singers is constructed to benefit the majority of singers which is, of course, understandable. Seemingly, the only safe haven for larger, unique voices being Dolora Zajick’s Institute for Young Dramatic Voices.
It is largely understood that dramatic singers will not be allowed to sing the repertoire that best suites their voice (Wagner, Verdi, Strauss, Weber, etc) until they reach their 30s. The financial, physical & emotional burden that the extra mile dramatics are asked to navigate in an already arduous career path leaves countless gloriously voiced, intelligent, hard working musicians with empty pocket books, broken dreams, & crushed spirits.
This is not just their story, it is mine. I’m told I’ve been singing since before I could talk. I begged my mother to start taking voice/piano lessons at the age of eleven. Thanks to the tireless efforts of my amazing parents, Donna Gary Schroer, mentor/teacher, Anne Launey, and the grace of God, I was accepted into and earned a bachelor’s degree in vocal performance from the University of Missouri - Kansas City followed by a master’s degree in voice/opera from one of the top three schools in the nation for such an education, the University of Cincinnati - College Conservatory of Music. I was then accepted into a highly competitive post graduate performance certificate program called an artist diploma at CCM.
However, in January of 2012, after losing 75lbs through diet & running, acquiring almost $80,000 of student loan debt (The majority of which went not towards education but living & career expenses) and countless rejection letters from Young Artist Programs, it had all become too much. My mental and physical exhaustion where reflected in my voice and I knew in my gut that my passion for the craft and drive to succeed were not enough to sustain me through the aforementioned dry season for dramatic voices. I made the decision to take a leave of absence from the Artist Diploma Program.
Fast forward to 2017. I’m now 30yrs old. I’ve taken a five year hiatus from singing outside of my church job. However, I hear the voice of my Grandma Schroer in my heart saying to me that “not everybody has a voice like that”. Eventually, that voice becomes so loud that I get myself back into lessons and back in the practice room. Last Summer, I gather the troops and we put together a new audition package. September, I’m accepted into a Dramatic Voice Symposium at Loyola University in New Orleans and am able to sing in front of Metropolitan Opera legend Greer Grimsley, world reknowned mezzo-soprano Luretta Bybee, & New Amsterdam Opera Director, Maestro Keith Chambers.
April 2018. At 31, I attended Chicago Summer Opera, covered Mrs. Grose and met a fantastic voice teacher, Alexandra LoBianco. In the Fall of 2018, I debuted with Third Eye Ensemble as Sarah in Paula Kimper’s Patience & Sarah. In some ways, after taking 5 years away from performing, I am starting over, paying my dues. In other ways, I am stepping right back in where I left off, only with renewed vigor, a greater sense of self, & reclaimed joy.
I am writing this letter to share my story and to ask for your assistance in easing the financial burden that accompanies the continued pursuit of, as one of my mentors, Marciem Bazell, once said, “High Art”.
My brother, Eric Schroer, has told me for years that he took his dream of playing basketball as far as he could and that he rests easy in that knowledge.
I know in my heart, I’m not done yet. After all, it’s not over until the Fat Lady Sings.
If visions of a buxom lady with a Viking helmet yielding a staff are flashing through your mind, you are on the right track. The finale of Richard Wagner’s epic Ring Cycle is proceeded directly by a 20min long farewell by Wotan, King of the God’s, daughter & valkyrie Brünnhilde as she returns the precious ring to the Rheinmaidens from whom the gold was stolen before committing suicide on her lover, Siegfried’s, funeral pyre.
This cornerstone of the operatic repertoire is orchestrated for a army and therefore takes voices of significant substance to carry over the instrumentation.
Unfortunately, until recently, the opera apprentice system in America has left little room from hochdrammatisch or high-dramatic voices. In the education system, the singers attention is drawn to marketability first and foremost. This is in regards to their voice, as well as the shape of their body. One must sing Mozart, early bel canto rep or perhaps even “hide out” in a different fach or voice type all together throughout their 20s.
Young Artist Programs (YAPs) which are thought to be the next logical step of the education/apprenticeship path for classical singers is constructed to benefit the majority of singers which is, of course, understandable. Seemingly, the only safe haven for larger, unique voices being Dolora Zajick’s Institute for Young Dramatic Voices.
It is largely understood that dramatic singers will not be allowed to sing the repertoire that best suites their voice (Wagner, Verdi, Strauss, Weber, etc) until they reach their 30s. The financial, physical & emotional burden that the extra mile dramatics are asked to navigate in an already arduous career path leaves countless gloriously voiced, intelligent, hard working musicians with empty pocket books, broken dreams, & crushed spirits.
This is not just their story, it is mine. I’m told I’ve been singing since before I could talk. I begged my mother to start taking voice/piano lessons at the age of eleven. Thanks to the tireless efforts of my amazing parents, Donna Gary Schroer, mentor/teacher, Anne Launey, and the grace of God, I was accepted into and earned a bachelor’s degree in vocal performance from the University of Missouri - Kansas City followed by a master’s degree in voice/opera from one of the top three schools in the nation for such an education, the University of Cincinnati - College Conservatory of Music. I was then accepted into a highly competitive post graduate performance certificate program called an artist diploma at CCM.
However, in January of 2012, after losing 75lbs through diet & running, acquiring almost $80,000 of student loan debt (The majority of which went not towards education but living & career expenses) and countless rejection letters from Young Artist Programs, it had all become too much. My mental and physical exhaustion where reflected in my voice and I knew in my gut that my passion for the craft and drive to succeed were not enough to sustain me through the aforementioned dry season for dramatic voices. I made the decision to take a leave of absence from the Artist Diploma Program.
Fast forward to 2017. I’m now 30yrs old. I’ve taken a five year hiatus from singing outside of my church job. However, I hear the voice of my Grandma Schroer in my heart saying to me that “not everybody has a voice like that”. Eventually, that voice becomes so loud that I get myself back into lessons and back in the practice room. Last Summer, I gather the troops and we put together a new audition package. September, I’m accepted into a Dramatic Voice Symposium at Loyola University in New Orleans and am able to sing in front of Metropolitan Opera legend Greer Grimsley, world reknowned mezzo-soprano Luretta Bybee, & New Amsterdam Opera Director, Maestro Keith Chambers.
April 2018. At 31, I attended Chicago Summer Opera, covered Mrs. Grose and met a fantastic voice teacher, Alexandra LoBianco. In the Fall of 2018, I debuted with Third Eye Ensemble as Sarah in Paula Kimper’s Patience & Sarah. In some ways, after taking 5 years away from performing, I am starting over, paying my dues. In other ways, I am stepping right back in where I left off, only with renewed vigor, a greater sense of self, & reclaimed joy.
I am writing this letter to share my story and to ask for your assistance in easing the financial burden that accompanies the continued pursuit of, as one of my mentors, Marciem Bazell, once said, “High Art”.
My brother, Eric Schroer, has told me for years that he took his dream of playing basketball as far as he could and that he rests easy in that knowledge.
I know in my heart, I’m not done yet. After all, it’s not over until the Fat Lady Sings.
Organizer
Jenna Odom
Organizer
Flossmoor, IL