One of my graduate assistantship assignments was to accompany the opera workshop. Ms. Cecelia Schieve guest-directed the program for a few semesters. Based in Boston, she would come to Kent periodically, a few weeks at a time to give workshops and stage operas/scenes. Voice students would come to rehearsals at their assigned times. I, sitting at the bench throughout all the rehearsals, had the most chances to observe the classes and to learn from her.
Trained as a mezzo-soprano, Ms. Schieve always speaks with a rich tone. Big boned, she could seem stern when she wasn’t smiling. But once getting to know her better, I realized that she was caring and humorous.
Although limited by time, she still managed to provide students with as much information as possible. I learned about the fourth wall and how it allowed the actors the freedom to bring to life the imaginary world behind the proscenium. I learned of stage directions. I learned how the term “upstage” came about.[1] Extending her knowledge in dance, she demonstrated how one should move on an operatic stage.
From her, I learned that, good diction was more than correct pronunciations of consonants and vowels. The duration and the timing of each component of words could make or break a musical phrase. Of course, this kind of preciseness would require careful listening and practice. Having learned to be aware of such details, I was able to relate it to Mr. Wustman’s frequent mentioning of legato lines. Consonants interrupt the flow of sounds. However, they are crucial to the meaning of words and verses. They must be produced with clarity and energy but swiftly.
With limited resources and small group of students, Mr. Schieve introduced some contemporary one-act operas to Kent audiences. We did A Hand of Bridge by Samuel Barber, Angèlique by Jacques Ibert, and The Face on the Barroom Floor by Henry Mollicone.[2] These short operas prepared me for large works of modern era.
Ms. Schieve always had a book, often romance novel, with her. She would pull it out during breaks and read quietly. The other item that she carried around was a little notebook. Whenever she heard or saw something that she didn’t know, she would make a note, in order to learn about it later—meaning ASAP. Observing her, I realized how crucial time-management could be to one’s success. I also realized how knowledgeable people accumulate their information, and how they never stop learning. Carpe diem.
Ms. Schieve continues to be active in educating young singers and cultivating audiences. I hope that our works will bring us together again.
[1] https://en.wikipedia.org/wiki/Rake_(theatre)
[2] Face-on-the-Barroom-Floor, Vegas City Opera