Postcard from soprano Rhoslyn Jones
This week’s postcard features international soprano soloist and arts educator Rhoslyn Jones. As one our 2020-2021 featured collaborators, Rhoslyn has presented an online masterclass for our Premier Ensemble and joins us on March 26 as special guest artist for our virtual 42nd Gala and Concert: Giving Back, Looking Forward, where she will perform selections from Antonín Dvořák's "Moravian Songs" with SFGC's Premier Ensemble.
REGISTER FOR OUR VIRTUAL GALA AND CONCERT TODAY!
See Rhoslyn Jones and the Premier Ensemble perform together, along with a suite of special guests and performances, during this evening in support of SFGC and our choristers. Click the link below to register for free, or consider championing SFGC as a VIP Ticket holder!
How did you first learn about SFGC?
I first learned about SFGC when I was in the San Francisco Opera’s production of Carmen in 2006 and many of the girls were choristers from SFGC. They brought such life and energy to those largely populated scenes and I could tell immediately that they were skilled musicians. I could also see that they LOVED being on stage. When I met Valérie Sainte-Agathe in 2014, I knew I had just met someone who was a true force of nature and an advocate for young singers. I didn’t exactly know how, but I just knew our paths would cross and we would find a way to collaborate artistically. I am so grateful that we are finally being able to do so. My real connection with SFGC started with my friend and colleague, Justin Montigne (Director of Voice Studies) who cares deeply about his work with the girls and has shared opportunities to watch these young singers grow and develop into passionate and skilled artists.
(L-R): SFGC Director of Voice Studies, Justin Montigne; soprano Rhoslyn Jones; SFGC Artistic Director Valérie Sainte-Agathe
How did you become a musician/singer? Tell us about what you’ve done and what you do now.
Music has been a part of my life for as long as I have a memory and it is my most fluent language. I was lucky to have parents who knew the value of a music education. They enrolled me in piano, choir, and voice lessons, and supported me as I joined every ensemble possible at my high school. When it came time to choose a university, they supported my idea of building a life in music and I felt very lucky. I didn’t know exactly what I wanted to do, but I knew it had to be in music.
Back in those days I looked up to song writers like Sarah McLachlan and singers like Ella Fitzgerald. Opera really wasn’t in my sights yet. Luckily, I had a formidable teacher named Nancy Hermiston at the University of British Columbia who told me during an audition that I would not be enrolling in the General Music Degree, but that she was putting me in the opera program. I went along with it, begrudgingly at first, but during the first semester I fell in love with Act 2 of Tosca during Nancy’s opera repertoire class. She called it her “Desert Island” music. She said that if she could take anything to a deserted island she would take her dog and Act 2 of Tosca. 22 years later, I fully agree with Nancy.
I was a little slower and not as naturally vocally “gifted” as some of my colleagues during college. There were many others with more beautiful voices and those who seemed born for the stage. It wasn’t something that came naturally to me. However, I knew I could outwork pretty much anyone and so that’s what I did. I soaked up every bit of information around me, locked myself in a practice room, spent hours and days in the library listening and watching operatic recordings, and slowly but steadily improved.
(L-R) Rhoslyn Jones, soprano and Rose-Ellen Nichols, mezzo-soprano singing Beethoven Symphony No. 9 with UBC Symphony Orchestra in Vancouver, BC
I completed my Bachelor’s and Master’s degrees at the University of British Columbia and during that time I performed more than 15 roles, mostly lead roles. I then went on to pursue an Artist Diploma at the prestigious Curtis Institute of Music in Philadelphia where I was able to meet and interact with some of the “movers and shakers” of the opera world. Philadelphia seemed HUGE and scary to me and again I felt like I was surrounded by people who were more talented and gifted than me. So, I worked more. I was accepted into the San Francisco Opera Merola program twice and from there, I was invited to be an Adler Fellow which set me up in the top young artist training program in the country and provided me opportunities to perform on that glorious stage.
After that, I signed with a manager, spent time in Europe, moved to New York, and worked as an opera singer all over America and Canada. Over time, my priorities shifted and I knew I wanted to be on the west coast, closer to my family. Additionally, I always knew that teaching and mentoring would be a part of my life. Since both of my parents are teachers and I was significantly impacted by wonderful teachers along the way, I knew it was in my path. I worked at a number of schools before being hired at the San Francisco Conservatory of Music, where I am proud to be on the vocal faculty. I feel that I’ve now found a happy balance of being able to continue performing, build my teaching career, and still be able to lead a life close to family and friends. I’m looking forward to seeing what is next for artists, and I know that with strong and determined women like my teacher Nancy, like Valérie, like me...we’re going to create, inspire, and lead.
Why did you choose the Moravian songs and how do you envision them with our choristers?
I have always had a love and affinity for Czech and Slovak music and I try to use as many opportunities as I can to share this music with my students and the public. The Moravian Songs by Antonín Leopold Dvořák are charming, sometimes a little dark, and always beautiful. I am drawn to harmonies, folk songs like melodies, and the human quality of the text that can sound a bit like stories being passed down from generation to generation. For those reasons I thought that they would be the perfect set of songs to sing with the choristers. They are traditionally duets for just two voices but I am excited to present these with small groups, solos, duets, and even some larger groups. This music lends itself well to the simple and stunning quality of human voices singing together in any configuration with beautiful harmonies and pleasing melodies. I hope you enjoy it!
A lot of our choristers have parents who are not musicians - what would you like to tell them about what it means for a young person to be doing music?
I think that parents who are raising young people in music need to first be thanked for their constant and unending support. They are driving to rehearsals, ensuring that these young singers are hydrated and fed, and staying up late waiting for rehearsals to finish on top of ensuring these young singers fulfill their school and extracurricular responsibilities. They make a huge sacrifice to aid in the pursuit of something their child loves to do and every young singer should be extremely grateful.
The thing I want parents and family members to know is that pursuing music is a worthy, useful, and fulfilling way to build a successful career. Learning how to read music, express emotion and text, and building confidence in front of others are things that will serve every musician no matter what they choose to do in their lives. Beyond SFGC, a degree in music is one of the most versatile degrees available and one of the most demanding and time consuming at the college level. There are hundreds of ways to build a life in music and I urge parents to trust and listen to the professionals at SFGC who have the insight, experience, and vision to guide your child as they look to pursue music beyond high school.
Rhoslyn Jones, soprano appearing as the Countess in Vancouver Opera’s production of The Marriage of Figaro. Photo: Tim Matheson
For those girls who do wish to become professional musicians, is there anything you would like to share with them?
There are so many things I wish I had known as I was starting out, but part of the fun of becoming an artist is finding out those things for yourself. I think the most important things to know, without spoiling too much, is to surround yourself with a team of people who believe in you and support your dreams. Sometimes that’s your parents, sometimes it isn’t. Sometimes it’s a cherished mentor, and sometimes it means distancing yourself from people who make you feel small. I would urge all young musicians to trust the process of hard work and discipline. Sometimes small or slow progress is still good progress. Being a musician in this modern age will be an exciting, innovative experience and will require your ultimate flexibility, creativity, communication skills, and determination. All of this will require you to roll up your sleeves and get to work, for the rest of your career. Lastly, learn how to manage your own money and stay organized. The most successful artists do it all: perform, write, teach, plan, and pay their bills.
Why is it important to continue practicing music and have online performances in this time of pandemic?
I think that people are craving art more than ever during this pandemic. They’re craving connection and an outlet for the big emotions they may be feeling. Continuing with online performances and continuing to practice music is vital for a sense of continuity, purpose, and moving forward. This is indeed a strange time but I think that’s where artists can thrive. Uncertain and unstable environments are where the real artistic innovators and creative minds dig in, do the work, and continue to create and build. That’s what I see happening at SFGC. It’s what I see at SFCM, and it’s exciting for me to play my role as a voice teacher and performer.
(L-R) Morgan McDonald, soprano and Rhoslyn Jones, soprano and teacher at the UBC Summer Vocal Workshop. Photo: Sam Siegel
Anything you would like to add? Especially about the work with our choristers?
I’m thrilled to be working with SFGC this season and I am really looking forward to hearing their progress and development. I’ve been lucky to hear them many times, and every time they improve and grow tremendously. I attribute this to their work ethic and to the directors and teachers who are guiding them. I am always so impressed by the musicianship they display. It is something that will hopefully stay with them for the rest of their lives, and it is the most vital thing if they plan to pursue music. I encourage all of them to let their unique voices shine and to make the most of their performing opportunities by performing with passion and emotion. Finally, when in doubt or when feeling nervous: vibrate your voice and sing louder. That fixes most things. I can’t wait to hear you all!