Teaching Statement

Professor Julie Wright Costa

Pier Francesco Tosi (1653 – 1732) wrote, “…the best Singer in the World is still a learner, and must be his own Master.” This quote resonates deeply within me, as I do not consider myself an expert but rather a life-long learner. Singing is a rich discipline, involving vocal training, intense musical study, and the development of strong artistic and technical fundamentals. Consistency and perseverance are key components, in addition to honing the art of expressive and clear communication. In the pursuit of this, one never arrives. I must constantly adapt and change through a myriad number of variables, including physical and emotional maturity, fluctuating health, tuning in to self-awareness, and evolving technique, to name a few.

Bruce Schoonmaker, in “The Tao of Singing,” states, “The art of building singers' capabilities integrates energies: stretching the body beyond the student's imagined limitations, stretching the psyche beyond what the student thought he could encompass, stretching the emotional being to encompass feelings and directive forces capable of bringing out of him colors and words that convey more than information, more than emotion, more than musicality, more than meaning. They bring out TRUTH. This is the derivation of "education," from the Latin "e-" meaning out, and "ducere," meaning to lead, draw, or bring.”

Singing is an open-ended discipline and a process. As a life-long learner, I have continued to engage with the creative and learning process on a daily basis. It is an honor to “draw out” our students and to lead them to a skillset that will enable them to engage in a coordinated, reflexive and expressive instrument through methods that are applicable within their individual needs.

As a private applied teacher of singing, I work with all levels of students at the undergraduate and graduate level. The challenge (and joy) is to possess techniques and methods that are grounded within the art, science and tradition of healthy singing, while knowing which methods work for different types of students. As each student does not learn in the same way, determining what works best must be an individually based approach. I have maintained a full-load (and often an over-load) of students, often teaching 6-hours in a row, without a break. I do not mention this to laud my “busy” schedule but rather wish to convey the amount of time and devotion that is required of the private-applied teacher. In addition to weekly lessons, I must also supervise outside rehearsals and attend many performances. While I follow a structured syllabus that clearly identifies expectation, I must also customize elements and methods to each and every student so that they can achieve success within the expectations of the course.

During a student’s lesson, I assess the current skillset, prescribe vocalises (vocal exercises) to strengthen weaker skills and promote vocal health, assign appropriate and varied repertoire, study the lyric nature of languages (English, French, German, and Italian to name a few), IPA (International Phonetic Alphabet) and pronunciation, address interpretation, role study, music theory/history, and often exercises that assist with physical alignment and body freedom.

A solid knowledge of basic anatomy, the physiology of the vocal mechanism and how it operates is crucial. It is also necessary to be creative in the moment. Sometimes the most useful information is scientific. Often it is philosophical. At other times, it is best to just listen and allow the student to critically think through their process. Eventually, the students and I work toward major capstone experiences, planning for opera roles, choral solos, and individual programs, such as recitals. Throughout this process, it is always important for me, while maintaining appropriate boundaries, to check in with my students as human beings.

The one-on-one connection between teacher and student must be one of respect, and yet it must also be compassionate. Unlike other instruments, one cannot “see” the voice (not without scientific devices), so learning must be based on proper function and sensation. During this time of online teaching, I do not forget the importance of real-time interaction and instruction. While I am as engaged as ever, teaching remotely, I miss the interpersonal and visual cues necessary to the success of private applied teaching.

I have been privileged to serve as the Voice Area Head for many years. During my tenure I have seen new opportunities arise for our students, such as voice area recitals, the co-teaching of studio classes between colleagues, the development of an undergraduate and graduate vocal quartet (I serve as the advisor for the Graduate Vocal Quartet), in addition to the growth of our opera program and the number of performance experiences that our students engage in.

These experiences are vital for our students as it is their field work for their craft.

To witness their growth as artists, and people, is amazing and always inspiring.

I am honored to say that I cannot take soul credit for any of the wonderful advances in the Voice Area but rather take pride in our work as an Area to provide knowledge, opportunity and experience to our students. I am incredibly grateful for all of my colleagues in the School of Music and the rich diversity of experience the each of us offer. It truly is a team effort.

As the Associate Artistic Director with The Ohio Light Opera (now in its 45thyear of operation), I am in charge of casting, and supervising a national audition tour each year. Each year I must listen to over 300 young artists and ultimately select 38 singers to join the company. It has been incredible to be able to audition and hire students from The U, and to perform alongside them or to direct them in fully orchestrated, costumed and professional performances. I am grateful to share my research (opera, operetta, musical theatre and stage direction) with our students and to see them shine and excel. I feel that this innovative approach, i.e. being able to bring a student from a studio setting, into a professional workplace, amplifies and solidifies the students’ skillset. I am also able to take what I learn from this experience back to all of our students, informing them of current trends in repertoire, performance practice, audition trends (basically a singer’s job interview) and most importantly, what it is like to collaborate with professionals in the field (stage directors, conductors, coaches, etc.), nationally and internationally.

I find that during these challenging days, humankind is turning to the arts more than ever to find comfort, meaning and inspiration. Music changes people’s lives and now more than ever what I, and my colleagues teach, is extremely useful and valid. It matters.

Julie Wright Costa

Professor / Voice Area Head

The University of Utah

The School of Music

julie.wrightcosta@utah.edu

JULIE WRIGHT-COSTA

RESEARCH INTERESTS