Cross-Genre Pedagogy in 21st -Century American Opera: Evolving Educational Practices for Vocal Performance

Abstract

This document examines the emergence of cross-genre pedagogy in undergraduate vocal performance programs through the scope of 21^st -century American opera. It explores the challenges and importance of cross-genre singing in contemporary operatic repertoire and examines how traditional undergraduate music programs can approach this repertoire more expansively. Additionally, through a series of select examples, this document investigates the impact of genre fusion on thematic content in contemporary opera, its accessibility to 21^st- century singers and audiences, and its performance and educational practices. Methodology for this study includes surveys, interviews, and performance analysis involving classical voice students, instructors, and industry professionals.

This document presents American opera as a medium for development within the operatic and classical spheres. Over the centuries, American opera has evolved to reflect the diversity of the American population that performs and consumes it. Key elements, such as perspective and setting, illustrate significant areas of development, showing how American opera has shifted to address more grounded subjects, including social justice issues, the everyday struggles of Americans, and composers’ ongoing deep exploration of humanity. The document also explores how these thematic developments connect intrinsically to the vocal portrayal of the musical work.

As contemporary opera has developed, elements such as text prominence and genre fusion have become more apparent, requiring vocalists to master technical skills suited to cross-genre styles, including contemporary commercial music (CCM), jazz, pop, and musical theater. This cross-genre vocal training not only equips students with the versatility needed for broader career opportunities but also benefits educators, as universities increasingly seek voice instructors with cross-genre expertise. This pedagogical approach is examined through case studies from Cross-Training in the Voice Studio: A Balancing Act by Norman Spivey and Mary Saunders Barton and insights from an interview with Dr. Dionne Napier, a voice teacher specializing in training classically trained singers for CCM and also builds upon these foundational perspectives by applying them to 21^st-century American opera. Through this performance medium, the document offers original analysis and practical applications tailored to the unique challenges of genre fusion and text prominence within the contemporary operatic repertoire.

Through a questionnaire, 38 participants shared their experiences with 21^st -century American opera. The sample included both students and teachers, and this document places their responses into dialogue to contribute to a broader conversation about the student-mentor teaching model traditionally used in American education. According to the data, the two reasons an undergraduate student may not be assigned 21^st -century American arias are vocal or musical underdevelopment and repertoire unfamiliarity. Teachers said their students needed musical and technical maturity to be assigned the repertoire comfortably. In contrast, students reported that their teacher’s unfamiliarity with the repertoire was often the main culprit. By examining these findings, this document encourages the educational community to engage more deeply with 21^st -century American opera.

Lastly, the document analyzes two soprano, one mezzo-soprano, and one baritone aria to present the research from prior chapters. The arias “A Lucky Child” from At the Statue of Venus by Jake Heggie, “Mama’s Misgivings” from A Snowy Day by Joel Thompson, “Golden Heart” from Breaking the Waves by Missy Mazzoli, and “Congregation Aria” from Glory Denied by Tom Cipullo are analyzed for vocal moments where cross-training techniques can be utilized, either due to genre fusion elements or the aria’s emphasis on text prominence. Each aria examines its contribution to plot narrative and perspective, furthering the development of American opera. The author shares personal experiences in teaching or performing this repertoire and provides supplemental exercises and repertoire recommendations to support learning these arias.

The significance of this research lies in its commitment to advancing educational development for both students and teachers. The fusion of 21^st -century American opera with other musical genres requires vocalists to navigate stylistic shifts with technical and expressive agility, reinforcing the importance of cross-genre training in the undergraduate studio. By equipping students with the skills to engage with contemporary operatic repertoire, educators equip their students to meet the artistic and technical demands of 21st-century American opera and other genres. This pedagogical approach not only broadens career opportunities for both teachers and their students but also empowers students to contribute to the continued evolution of the genre, ensuring American opera remains a dynamic and relevant art form reflective of the diversity and complexity of America today.