Boston Singers' Resource News Bulletin, April 14 , 2004

Austrian born Mezzo Soprano, Petra Pacaric, shares with us her experiences auditioning in Germany this past fall. She also discusses her musical upbringing and offers some comparisons of music education in North America versus Europe. Her recital, MEDITERRANEAN SUN - an evening of Spanish and Italian love songs and duets will be presented in Wenham and Boston next week (details below.)

LS: I am so honored to perform with you in our upcoming recital. Not only do you have a gorgeous mezzo voice, but your command of the languages is so superior (I struggle to keep up!) Why did you study linguistics?

PP: First of all, the honor is completely on my side. It has been a great pleasure to work with you and I so much look forward to our recital. .... Yes, my languages, well, thank you. You know, I always, always, had this thing with the languages. My first linguistic discovery actually was the native language of my father, who is from former Yugoslavia. When I was about 10 years old, I somehow succeeded to get a serbocroatian language book and started to study the language on my own. I liked to surprise my Dad with my little sentences and a few songs he tought me (he always said I had a cute accent). There was never enough time for him to actually teach us how to speak serbocroatian, unfortunately, so nobody except him spoke it. Then I started to have foreign languages at school, and they were very easy for me. When I had the possibility to go to University, I wanted to choose something that would allow me to live comfortably in the countries I love most. As I knew that I would sing mostly in Italian already, I picked Spanish (also because more people in the world speak it) and French. I eventually graduated as a conference interpreter, which was tough, but at the end of the day, very rewarding.


LS: What brought you to The Boston Conservatory?

PP: My husband got the possibility to work here in 1997 and I went with him. I had heard of the Boston Conservatory when I lived in Canada.
Ever since, it was my dream to go to this school. So, it was like some sort of miracle that everything happened this way and that now we are here.

LS: What is music education like in Austria?

PP: The educational system in Europe is quite different from what we have here in the United States. In general, music (talking classical music) is more present in everyday life over there than here, and the broadcast and media system is less "liberal" over there because the main channels belong to the state. On the elementary school level, there is active practicing of music starting in kindergarden and elementary school in very much the same way as here. But, the High School level is very different. Teaching voice at High Schools in this country has actually shown me the amazing level at which some High School music departments operate. This is completely different in Europe (or at least in Austria/and probably Germany).

The general school system is not by far comparable to what some of the High Schools have to offer in this country. Of course, there are special schools that offer an education geared towards the Arts and music (comparable to the Walnut Hill School for the Arts and the NYC High School for the Performing Arts). But, the "general" High School in Austria does not really include music education to such an extent as we can find it here. Concerts and Musical Theater productions, as I have seen them performed in this country by teenagers, are not part of the image a school seeks to project to the public, perhaps because our schools are government run. There IS, of course, room for creativity and music at the High Schools in Europe. Especially on special occasions such as Holidays, schools will put up student performances. This however happens on a more "casual" level, and is generally done by the students themselves (i.e. not by far as organized as we can find it here at some schools). At the time when I was a High School student, I was regularly asked to sing on the national holidays or other festive occasions. However, this has not really to do with music education.

Another thing in which school education here and there differs greatly is the concept of school bands. In Austria, and probably in Germany, too, you would join a community band and play for certain community events. In the United States, the school bands are much more muscially active in the communities. Over there, if a kid joins a (community) marching band he/she will get a lot of support because the tradition supports growing within the generations. So, instrumentalists very often not only get sponsoring for the instrument, but also a discount for taking lessons. In terms of vocal possibilities, there are always community choruses and the performances at the Music Schools. The regular High Schools do usually include a Music Class for one or two hours a week. These mainly focus on some basic music theory and perhaps some chorus singing.

For the student who wishes to study music more intensively, in Austria we have some excellent music schools, for students of any age, that offer instrumental and vocal lessons. These schools are in general privately run, but partly state-funded and it is possible for parents to get a scholarship or a reduction for their children if necessary. And then, of course, you have the conservatories or "Musikhochschulen." For an operatic degree or voice performance degree you have to study about ten years, which is a long time! Usually, a student will enter the conservatory by the time he/she is eighteen years old (in singing this might be a little later). It is often claimed that voice students that graduate from European Conservatories are not ready for the "real" world. I don't know if things have changed that drastically since I live in this country, but I think it still holds true. The training in the US is very professionally geared, a strong focus goes towards staging, role study and being versatile in as much vocal literature as possible. In Austria, and Germany, the Fachsystem is still dominating the repertoire, which many singers perceive as restricting. Thanks to an active voice teacher in the Conservatory where I studied at the time, we did an outreach program that brought the MAGIC FLUTE to about 15 schools throughout the region. Which was a wonderful opportunity, but rather the exception to the norm. Study at the conservatories involves studio recitals, an operatic performance, and theory classes. You have one voice class and, from a certain point on, regular coachings with a "Korrepititor".


LS: I really love your phrase "tradition supports growing within the generations" and am jealous (as many American musicans are) of the fact that classical music "is more a part of everyday life" and community in Europe than it is here. What a musical country this could be if more parents practiced and performed music WITH their children! We need such traditions as yours, honestly. Is private voice teaching different over there?

PP: Yes, voice teaching is still very different in Europe. I think one crucial difference between education, in general, in Europe and in the US is that teaching at a higher level (say, at the Conservatory for example) is still very strongly connected with what we call "status". In other words, the teacher (or professor) is still regarded as some sort of "God" who ought to know and who passes on this knowledge as he received it from his teacher, rather than offering ways to gain it. I studied from various teachers who taught this way and, for me, this was never enough. I was not very happy with the voice instruction back home. Nobody ever really actually TOLD me WHAT to do exactly. Only when I lived in Ontariio/Canada, I learned that there exists something else other than teaching based on some mysterious techniques passed on from generations of voice teachers that produce new singers that only sing like their teachers. We never really learned the pedagogical basics. Last fall, when I travelled through Germany, I met a great number of singers who claimed to have obtained their technique from "Professor so-and-so". Which is an indicator that the same old style that says to 'stay away from vocal pedagogy books' still exists.

LS: Last fall, you spent a month auditioning in Germany. How did it go?

PP: This was my first time. I had a good amount of auditions with agents all over Germany. I had fun organizing everything with writing letters and getting answers. Singing for agents proved to be a mixed bag though. Everybody is different and looking for different things. Some of them give helpful feedback, others are actually quite rude and every singer before you exits the audition room with a disappointed face. All in all, it was a very intense, but rewarding experience. I liked the fact that I had a whole month
where I could focus entirely on aspects of auditioning.


LS: Did you find being a German speaker helped your auditions?

PP: There is no doubt that being a German speaker is a great advantage. However, even with my German accent (thanks to my Mom who is a born "Rheinlaenderin") I felt quite lonely most of the time. But this is part of travelling. Nevertheless, it is nice to be able to communicate in German if you are in Germany (although the Germans speak English and most of them will be happy about the opportunity to speak with an American). When it comes to the auditions, it seems that things have become rougher for everybody who is not fluent. I met a great number of singers who came from other countries than Germany and were more concerned about their German than about their
singing.


LS: Do you think it is still an advantage for emerging american singers to spend the time and money auditioning in Europe? Are there still more career opportunities for singers in Europe than in the states?

PP: Good question. I honestly don't really know... It seems everybody tells you some different story. I do believe that there are many possibilities in Europe. On the other hand, I have heard from other singers who live there (including singers from the US, New Zealand, and South Africa) how hard it is to make a living with those beginner contracts. I think right now, it is difficult for anybody, regardless of the nationality (although American singers are still highly esteemed in Europe). However, I also noticed how many names from the former communist countries are present on the house rosters, now. In other words, the fall of the curtain has led to a - hopefully temporary - oversaturation of the market that makes it hard for any singer to get "in". Manyof these singers from the former communist countries (not to forget those from former East Germany who will get a place through the ZBF) are willing to sing for very little money. Which of course creates a problem for those who save all their money to travel and sing for some agents that happened to invite them to audition for them. I think in order to get work in Europe, you have to invest time. You have to live there for a longer time, be around, make connections, and eventually, you will find something.


LS: What are your thoughts about the New York International Opera Auditions (NYIOP)? Do you think many of the agents you sang for will attend?

PP: I think these auditions are an exciting opportunity for everybody who lives in the US and considers seriously to sing in Europe. The nice thing with these auditions is that the people who come to hear singers are mainly theatre directors or representatives of houses. So your chances to actually get a contract with a house are higher than singing for a European agent. I do consider trying out the NYIOP one of these years.


LS: I am so impressed with how well you take care of yourself - not only vocally, but physically and spiritually, as well. We should all attend to our wholeselves as singers as well as you. Have you found success with certain regimes you'd like to share?

PP: I cannot agree more with what you are saying. I think it is essential for us singers to take very good care of ourselves. Dealing with different levels of emotions alone, in terms of repertoire, makes us more vulnerable psychologically which in turn can make us more vulnerable physically and prone to all kinds of "injuries".

LS: Interesting statement - equating emotional work with a potential for bodily injury. I had never thought of it that way, but I agree. Its all connected.

PP: But even if things don't work out like we want them to, we should try to not forget how blessed we are to be able to do what we are doing. Certain regimes......... well, that would be a looong list! In general, I think practicing a good amount of self-discipline is helpful for any human being. Also, having a good sense of humour and not taking yourself too seriously I find very helpful. The key is to find out what works for you in order to stay strong in body and mind, which is a lifetime mission.

MEDITERRANEAN SUN - SONG RECITAL!
A flirtatious evening of Italian and Spanish Love Songs and Duets.
Music by Rossini, Respighi, Mozart, Bernstein, Piazzolla and more!
LYNN SHANE*, soprano;
PETRA PACARIC*, Mezzo-Soprano;
JOSEPH STROUP*, Piano.
April 18, 4:00 PM, First Church (Rt. 1A) in Wenham, MA;
April 23, 8:00 PM, Guild Hall, Old South Church, 645 Boylston St., Boston, MA.
$7.00 Suggested donation.
For more information: 603-964-2956, ppacaric@ix.netcom.com

PETRA PACARIC BIOGRAPHY

Mezzo-Soprano, Petra Pacaric, grew up in Austria where she studied music as well as foreign languages at the Conservatory of Music in Innsbruck. She is fluent in German, French, Spanish, and Italian. During her years of European study and related travels, she performed in Austria, France, Spain and Ontario/Canada.
Ms. Pacaric is now living in the United States where she is busy teaching and performing on a regular basis. She finished her Masters in Voice Performance at the Boston Conservatory in the year of 2000. Most recent appearances include several solo recitals in the Boston and New Hampshire area, as well as performances with Metrowest Symphony Orchestra, New England Light Opera, Nashua Symphony Orchestra, and Granite State Opera.

For more information or to contact Petra Pacaric:
603-964-2956
ppacaric@ix.netcom.com