Beyond the Classics: Opera Program Prepares Students for Professional Success

Innovative approach shapes tomorrow's classical performers

This spring, Belmont's Opera Program steps into the spotlight with an ambitious double bill featuring "Pinocchio" and "Hansel and Gretel." Under Dr. Savanna Sokolnicki’s direction, assistant professor of classical voice, students are staging both shows simultaneously, with "Pinocchio" serving a dual purpose –– as part of the campus double feature and as a traveling production that will visit local high schools. 

"It's going to be a great show," Sokolnicki said. "It's going to make the younger students leave with a great feeling about opera, but also with some depth, some thought and, hopefully, a sense of curiosity." 

Innovative Programming with Real-World Applications 

This spring's double bill represents strategic innovation for the opera program. "We chose to do Pinocchio for two reasons," Sokolnicki said. "It uses songs from operas that we wouldn’t otherwise have the chance to do because they're huge shows. And because it's an outreach opera, it's really easy to use to communicate with younger audiences." 

The goal is two-fold: give Belmont students applicable professional experience that mirrors the professional landscape they’ll find after graduation and also introduce younger audiences to opera and to Belmont.  

“It's helps us see a glimpse of what it will look like to join a young artist program early in our career," said Javi Castro, a junior classical voice major playing the title role in "Pinocchio." "The same show that we're doing, by John Davies, is what you'll typically be doing in educational outreach. So, we hope to get students inspired to learn about opera and realize what it can be. A lot of students have never seen an opera, not even in an educational setting." 

Both productions feature creative approaches to classic stories. While "Pinocchio" incorporates music from larger works, this adaptation of "Hansel and Gretel" is set in Depression-era America rather than traditional German folklore. 

"I've been really trying to embrace the idea of storytelling that can change and shape our community," Sokolnicki explained. "’Hansel and Gretel’ could very easily be just a lovely story, or it can be sort of a deeper lesson about love and patience." 

"I think it'll be really fun for audience members to watch a story they know so well and see that childlike whimsy about it, but also to really have that emotional affect from their deeper meanings as well," added Claire Tole, senior classical voice major who is playing Hansel. 

Learning from Industry Professionals 

In February, renowned soprano Kathryn Lewek, famous for her role as Queen of the Night at the Metropolitan Opera, conducted a three-day intensive at Belmont, focusing intensively on character development which is valuable for students taking on roles unlike themselves. 

"She really dove into body language, and specifically with ‘Hansel and Gretel,’ their sibling dynamic and creating those bonds on stage," Tole said. "That was definitely a big stressor for me – figuring out how I was going to be presented as a little boy when I think of myself as a very feminine person. How do I walk like a little boy? How do I have the mannerisms of a young boy?" 

For Castro, the sessions with Lewek helped deepen his interpretation of Pinocchio. "She loves to pick your brain," he said. "She's like, 'Yes, it's a 45-minute children's opera, but how can we make this so much more?'" 

Lewek was equally impressed with the Belmont students. "I feel so privileged to have had the opportunity to work with such a fantastic group of students at Belmont," she said. "Their focus and motivation to work on their artistry was incredible to witness, and the risks they took in the room when I pushed them out of their comfort zones was inspiring." 

A Community that Nurtures Excellence 

Beyond master classes, students consistently point to faculty mentorship and a supportive environment as central to their development, with faculty connections frequently providing professional opportunities. Tole credited her first professional classical performance with the Nashville Bel Canto Foundation to relationships developed through Belmont. "All of the 'big hitters' on my resume have come from a connection I've gotten at Belmont," she said. 

"Dr. Mark Whatley, my voice teacher... he pushes me in a way that no one else does, and he keeps it real with me because he knows the potential I have for this career," Castro said. 

The program's relatively small size allows for personalized attention and more performance opportunities. "I think there's perks to being at a smaller opera program because there's less people," Tole said, noting that this creates more chances for students to perform significant roles. 

"We don't have that competitive aspect here that you typically see in other programs," Tole added. "We're very community driven and loving and supporting, which I think is why so many people have had so much success." 

Other distinctions for Belmont’s program include a regular seminar class that helps students grow comfortable performing in front of their peers, holding students to professional standards from day one and placing heavy emphasis on diction and language training – a marketable skill that helps opera performers stand out when looking for international work. 

Tole, who added a German minor to complement her vocal studies, plans to sing in Austria this summer and hopes to eventually perform in Germany. "Opera is not as big in the U.S. as it is in Europe," she said. "If you go to Germany and you already speak German, well, that's really convenient for press interviews, for speaking to the crew there, etc." 

Steppingstones 

The spring opera performances of "Pinocchio" and "Hansel and Gretel" took place April 4-6 at Belmont’s Troutt Theatre. For students, these performances represent not just a culmination of months of preparation, but a steppingstone toward their professional careers. 

“Our goal always with opera is to try and prepare them as best as we can for the professional world that they're about to enter," said Sokolnicki. 

Through professional training, language study, industry connections and community outreach, Belmont's opera program continues to prepare students for success on stages around the world. 

"I really hope some students get inspired the way I was by opera," Castro said, reflecting on the upcoming high school performances. "Without storytelling, who's going to know history? Who's going to know what morality is?" 

As performances approach, both students expressed gratitude for the foundation Belmont has provided for their futures in opera. 

"Always be a kind person," Tole advised future students. "Part of this business is yes, you got to be a great singer, but in reality, everyone's a great singer. People really only want to work with people that are kind and professional and respectful." 

“The limit doesn't exist at all," Castro concluded about the opportunities at Belmont. "On every corner we turn, there's a new hallway of opportunities."