Quitting Pay-to-Sing Programs, For Good

In the classical vocal world, the words “Pay-to-Sing-program” refer rather broadly to a training program (usually in the summer) that one must pay money to attend. This is in contrast to what we call a “Young Artist Program”, which usually refers to a training program for which the singer is paid to participate. While I wish it were always clear to potential applicants exactly which type of program they are applying for, there are different labels and titles thrown around for all sorts of programs. A Pay-to-Sing might be called an “artist training program”, an “opera center”, an “opera experience”, a “festival” or have a name that simply sounds like an opera company. This can all be very confusing to emerging singers learning to navigate the industry and manage their own training needs.

The goal of this piece is not to discourage the participation in Pay-to-Sing programs altogether, but to express what I desire for all singers:

• To become fully aware of the many types of programs that exist, what they actually offer, and what the cost vs. benefit analysis looks like. 

• To understand that attending one Pay-to-Sing may be an excellent choice for some individuals at a specific phase of their training. The program must be chosen very carefully, and scholarship money should always be both solicited and then appealed in order to secure maximum funding.

• To stop at one program (yes, for life), unless there is a circumstance in which a second program has been determined to offer an extraordinarily good opportunity and is either fully funded or offers a specific job in lieu of tuition.

• To recognize the problematic effects of attending multiple Pay-to-Sing programs.

• To advocate for and seek out better training and performance opportunities in their academic programs so that the need for Pay-to-Sings is lessened.

I use the term “Pipeline” to refer to the typically prescribed path to becoming a “full-time opera singer”. The Pipeline Prescription dictates that one should attend both undergraduate and graduate school for vocal performance, go to summer programs, sing in competitions, make connections, obtain a manager and launch a full-time operatic career. Despite massive industry changes over the past two decades, and clear evidence that the Pipeline fails for the vast majority of singers, this path is still widely prescribed in conservatory and university voice programs. 

Starting in undergraduate and often continuing throughout graduate school and beyond, singers are encouraged (by peers, teachers, mentors, coaches and others) to attend summer training programs in order to gain more performance experience and hone their skills. Typically this encouragement stems from the Pipeline Prescription; both the singer and their mentors have the elusive “full time operatic career” goal in mind. For those pursuing this path, additional training may in fact be needed, especially for women, who make up the majority of voice majors and receive fewer performance opportunities in academic programs than their male counterparts.

Depending on their age and level, a singer may apply to Pay-To-Sing programs, Young Artist Programs, or both. There is a third type of program which I call “No-Fee, No-Pay”, in which no money exchanges hands in either direction (the singer is being trained free of cost, but is not being paid).

Young Artist Programs (known as “YAPs”) that pay their singers typically accept 12-24 singers ages 21-32 (with exceptions) and are incredibly competitive. Singers accepted to these programs usually have advanced technique and acting skills, already have significant stage experience and are considered ready to take on entry-level professional work (comprimario roles, covers, ensemble, etc.), working with conductors and full orchestra. Most singers in their twenties do not have the skills necessary to be accepted to these programs, and those that do are still up against unbelievable odds, with only a tiny fraction of those auditioned being accepted. It has always been hard to get into paid YAPs, but is now worse than ever (with just a few contributing factors being the financial crash of 2008, the creation of YAPtracker and the recent pandemic). The competitiveness of YAPs is one of the primary reasons that Pay-to-Sing programs are now a booming business.

Pay-to-Sing programs run the gamut from absolutely-fantastic-and-worth-every-penny to absolute-dirty-scam. They can run for any duration, from one week to over two months and cost anywhere from zero (with a full scholarship) to ten thousand dollars. Later in this article we will explore the types of programs you might encounter and the pros and cons of those scenarios.

It is understandable why it is so tempting to attend Pay-to-Sings. Young singers want to make sure that their resume shows enough experience to land the next opportunity, and that they’re being perceived as someone who can handle singing a full role onstage. They believe that the number of named roles they can show on paper has a direct impact on their future as a professional singer; this is what they have been taught. There is also the very real issue of peer pressure. Singers feel left out and left behind if they do not do a summer program along with their colleagues. It is so normalized within academic voice programs that they feel like less of a singer if they make the decision to stay home. 

The case for staying home

First, it is important to consider that those who regularly read resumes know, for the most part, which programs are known for giving legitimate training and which are considered a scam (and everything in between). They’re rarely impressed by seeing three or four Pay-to-Sing programs under the “Education and Training” section. They can likely appreciate the benefits of attending one high-quality Pay-to-Sing, and will view that as a positive asset to your resume. Beyond that, it is more interesting to see that you’ve taken an acting course, a dance class, an intensive language course or created good opportunities for yourself.

Next, the financial ramifications (for you and/or your family) of attending Pay-to-Sing programs can be huge. Being a classical singer is, let’s face it, really expensive. You’ve probably already spent goodness-knows-how-much on your education. If you are regularly auditioning, I can only imagine what you spend on preparation, travel, audition attire, materials and recordings. In most other fields, one does not get their degree only to spend more money training after graduation. Our industry is brutal in that way, and it is rarely the case that a singer will graduate and immediately start working as a professional singer.

Something to ask your team of trusted humans (teacher, coaches, mentors, etc.) and answer honestly for yourself is: Where are the holes in your education? Do you need work on vocal technique? Musicianship? Acting? Diction? Movement? Entrepreneurship and career savvy? If you have several strong areas but obvious holes in other areas, there are plenty of other options aside from Pay-to-Sing programs. You can stay put and spend your money strategically on filling those holes. A soprano who was offered a small role at an expensive program with little to no scholarship would be far better off staying home. She can train with her teachers and coaches and seek affordable local or online courses. The cost of voice lessons, coachings, classes and other enrichment activities will cost a fraction of what she’d pay for a program. She can also attend live performances, watch online masterclasses, listen to great singers and watch operas on the big screen. The benefits of sitting, listening and learning are often overlooked, to the great detriment of the singer.

The financial strain of attending Pay-to-Sings doesn’t stop at the tuition, flight and food costs. For the duration of your time away, you are not making money working. You may or may not still need to pay your rent and utilities back home. Regular monthly expenses do not simply disappear. Many singers end up with a hefty credit card balance after a Pay-to-Sing, and if they are unable to pay it off immediately they will also be on the hook for the interest costs resulting from carrying a balance. Keep in mind, credit card debt is the worst kind of debt. 

If you are still in school, I implore you to think long and hard about what you can do to fill the holes in your training within the program you are already enrolled in and paying for. Are there courses you can audit? A professor that can offer extra help? Roles you can understudy or study cover? Are there dramatic, language or career coaches available to work with you? Are there opportunities you can create for yourself, such as collaborating with a composer, presenting your own aria and scenes night, or putting on your own small one-act opera?

Understand that no amount of Pay-to-Sing experience is going to get you hired; what gets you hired is your singing. If you are striking out as far as getting the opportunity to be paid to sing, then you need to try something different. What you are doing is not working for you. The answer is probably not to attend multiple Pay-to-Sings, keep pounding the YAP pavement, or to record your five arias again and again until your recordings are “good enough”. Instead, make a stay-at-home plan and hold yourself accountable. If you are frustrated with your progress, seek out new teachers and coaches. Talk to singers you admire. Meet with a career coach. Ask for help. You do not need to spend thousands of dollars to make positive steps forward in your singing journey.

There is a pervasive narrative in our industry that opera rules the roost. I regularly challenge this narrative in my work, for the reality is that there are countless paths to becoming a professional classical singer. It is so important to learn about alternative paths and ensure you are being true to yourself. You don’t want to waste time and money at a program that does not serve your needs, interests and future career.

Know exactly what you are paying for

There are absolutely situations in which attending a Pay-to-Sing can be beneficial, but if this article makes any impression at all, it should be that that one program is enough. If you make the decision to go ahead and apply for Pay-to-Sing programs, there are many factors to consider carefully. You need to know specifically what you are paying hard-earned money for. The following are examples of the different types of Pay-to-Sing programs one might come across:

Program A

*6-week program in Europe. Focus on general classical vocal training. Cost, not including flight or food: anywhere from zero (with rare full tuition waiver) to $8,000 with no scholarship.

This program offers weekly voice lessons, weekly coachings, participation in one to two master classes, career workshops, language classes and at least two performance appearances (in an opera scene, aria(s) with orchestra, aria or art song(s) with piano, recitals). The faculty consists of accomplished, regularly-working singers, coaches and teachers. Performance experience typically does not include a full operatic role in a production.

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In Program A, the singer is getting a good deal for their money, despite the fact that they likely will not get the experience of singing a role. This scenario essentially serves as an extra semester of late-undergraduate or graduate school. There is a significant amount of training, exposure to a new language and culture, and a fair amount of performance experience. However, the acting, character development and movement components of the training are largely missing. This type of program can be great for singers who need vocal technique work, additional perspectives from industry professionals and work on musicality and diction. It is also a great choice for someone interested in learning another language and pursuing a career in Europe. Just like with undergraduate and graduate programs, the singer should always appeal the amount of scholarship money that has been awarded in order to receive the best funding possible.

Program B

*4-to-6 week program in Europe or the US. Focus on operatic training. Cost, not including flight or food: anywhere from zero to $6,000.

This program offers weekly voice lessons, weekly coachings, career and acting workshops and participation in one to two master classes, and offers the singer one to two operatic roles or covers. The size of the role(s) depend greatly on gender and the singer’s experience level. Roles are typically double cast, particularly female roles. Additional performance experience may be offered, such as aria nights, recitals or donor events. Singers may or may not receive language training with native speakers. The faculty members vary from seasoned professionals to relative newcomers. The operatic productions at this type of program vary from semi-staged concert versions to modest productions with piano reduction to full production with costumes, lights and full orchestra.

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In Program B, the singer may or may not be getting a good deal. This depends greatly on how much of a scholarship they are able to acquire and what roles are being offered. A soprano paying $6,000 to sing Suor Genovieffa in Suor Angelica is being ripped off. If she can negotiate cutting the program cost by 30% and adding a cover of a principal role, then the program may offer enough value to attend. This program could be a wonderful opportunity for someone with one to two good-sized roles and a substantial scholarship.  

Program C

*2-to-4-week program in Europe or the US. Focus on operatic training. Cost, not including flight or food: anywhere from zero to $5,000.

This program does not offer voice lessons. Coachings may or may not be offered, but are likely to be specifically focused on the role the singer will perform. Singers participate in workshops or master classes focused on arias, dramatic presentation and/or movement. Singers are offered one to two operatic roles or covers. Roles, particularly female roles, are double or even triple cast, limiting the amount of stage time per person. Operatic productions vary from modest to full productions and are typically accompanied by chamber or reduced orchestra. Faculty credentials vary widely. 

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This type of program should generally be avoided. If the singer is able to verify that it is of good quality from multiple sources, chooses to apply and is offered a principal role with adequate stage time (two or more performances) and ample scholarship money, the offer may be considered.

There are certainly programs that do not fit into these exact scenarios, but my hope is that these examples give you a sense of what you may encounter.

Additional Programs

There are plenty of other types of programs in existence that should be seriously considered, including but not limited to: 

• high-quality programs with a focus on art song and/or new music

• one-to-two-week programs focusing on anything from chamber music to collaboration with composers

• summer language intensives

• small-scale, affordable opera scenes programs

• vocal pedagogy training programs

It is crucial to be aware of your own needs and interests. If you have limited experience following a conductor and singing with an orchestra, and have determined that this is important for your future, then that should be a priority when applying to programs. If you’re then only offered a cover (with no cover performance with orchestra) and a scenes program with piano, that opportunity is not a good fit for you. If you need work on your Italian diction and sing a lot of Italian operatic repertoire, then a lieder-focused program in Germany is probably not for you. If you have a strong interest in early and/or contemporary music, then for goodness’ sake seek out programs that support these interests!

Singers are easily tempted by role offers from Pay-to-Sings that produce opera, and thus may accept a role that is not actually a good fit for them. When considering whether a role is right for you please consult those you trust who know your voice well.

Do not become so hyper-focused on getting lines on your resume or keeping up with your peers that you make poor decisions that can negatively impact your professional and financial future.

Important questions to ask if you decide to attend a program

(To ask them)

• Can you offer me more scholarship money? Let me tell you why I need / feel I deserve it.

• What type of operatic production will I be performing in? Will there be piano or orchestral accompaniment? Is the role double cast?

• Is there an additional role I can take on, or an understudy you can offer me? Do understudies get a chance to run the role onstage?

• Are lessons and coachings offered, and do I get my choice of voice teacher or coach?

• What specific type of language training will I be receiving, if any?

• Is there a singer I can speak to that recently attended your program?

(To ask yourself)

• Do the offerings of the program align with my needs and the goals I am working towards at school / with my team?

• Have I fully researched the program (and its teachers, coaches and conductors), and sought out singers who have attended it to learn more and ensure it is a good fit for me?

• Can I realistically afford this program? Where, specifically, is the money going to come from?

No matter where you pay to go, you may learn to be more conversational in a language through work with native speakers, have a great time in a new-to-you city, make new friends and have some fantastic coachings, lessons and/or stage time. There are unquestionably benefits to attending a good quality Pay-to-Sing program. Proceed cautiously and from an informed perspective. Remember that you never have to subscribe to what others have decided the appropriate path is. Often, abstaining from the norm leads to incredible growth and self-discovery. Why not set yourself apart? You know what you need for your development as a singer and artist, so be empowered to make financial and career decisions that make sense for you.