Exit Interview: Ella Vaughn, HGO’s Young Artist Vocal Academy

Each May, an elite group of promising college students from across the country—all of whom plan to pursue careers in music—join HGO at the Wortham Theater Center to train with the company’s Young Artist Vocal Academy. During an intensive week, they receive valuable training, connections, and insight into the opera industry, all part of HGO’s commitment to helping the next generation of artists hone their gifts.

One of the 16 students who joined us for YAVA this year, in two cohorts over two weeks, was soprano Ella Vaughn, a rising senior at Oberlin College and Conservatory, where she’s pursuing her Bachelor of Music degree. Ella was already having an incredible spring—she just took home first place at both the George Shirley Vocal Competition and the Tri-State Vocal Competition—when she made her way to Houston, having been accepted into YAVA following a competitive application process.

We caught up with Ella as her time with HGO was coming to an end, the day before she and her fellow students gave their final aria presentation and headed home. It had been, she said, “a whirlwind—the slowest and fastest week ever. It went by so quickly, but the days were also so long, in the best way. I feel like I’m really soaking up everything.” Read on to learn about Vaughn’s experience training with YAVA at HGO.

How would you describe the program to someone next to you on an airplane?

It’s intensive. You're going to be focusing on voice lessons, acting, and finding out about the industry. For me, the acting, communication, and artistry part of it is really important, because that helps us set ourselves apart. It’s also an opportunity to connect with like-minded people. The opera world is so small, so meeting people like [Butler Studio Director] Colin Brush is so big, because he just knows everyone. And same with [Director of Vocal Instruction] Dr. Stephen King.

Tell us about taking voice lessons from Dr. King.

It's amazing. I really appreciated how simply he explains everything. What he says is so incredibly thoughtful, and I'm like, You're right. That's exactly what I need to be doing. We talked a lot about raising the soft palate and being higher in the head—the acoustical shift that is necessary. We talked about breath, and the way he explains it, it's just very simple. I think that is why a lot of people take so much from him. He doesn't over-explain. He doesn't say what doesn't need to be said.

What’s another highlight of your experience?
I’ve done a lot of these programs, but this is the first one where I feel I’ve really gotten insight into the actual industry. There’s just so many facets that I literally never thought about. The music librarian, Lucas [Nguyen], came and talked to us. My mind was blown learning about copyright and just, his job in general. We talked about social media and marketing; stage management; what to expect in rehearsals. I learned that it’s standard industry practice to tip wig and makeup staff and your dresser—I had no idea! So, the program is very focused on singing and acting, but it’s also all these other aspects of the industry. Like a peek behind the scenes. It’s so incredible. 

What are your impressions of the other YAVA artists?

Everyone is so nice, and so excited to be here, and to learn everything there is to learn. I didn't know anyone going into the program, but they are all amazing—the level of dedication that they put toward the craft is so apparent. There’s really great talent, but it's not competitive. We're not comparing ourselves to each other. It's more like, being here, how can I get better?

How has it felt to be part of a professional opera company during your time in Houston?

The only thing I was missing is being a part of an actual production! It’s very serious business, but also, you don't want to think of it as too serious, because we're here to have fun, and we're here to make art.

Tell us about the aria you’ll be singing tomorrow.

The arias that I brought here, I've been doing for a while, but you can never have a finished piece of music. There's always something to add. I’m doing “Deh, vieni, non tardar” from Le nozze di Figaro. I did the role last summer, but I’ve revamped the aria completely. After so many coachings, I feel I’m stressing the words in the right place. I have a whole new artistic and acting outlook after this week. I’m really excited to present it.

When you go back to school in the fall, what will you tell your friends about YAVA?

You need to go! I've learned so much that I can take back to my studies at Oberlin. I feel like there's so much supplemental knowledge that I haven't learned at school, to gain in this context, at an actual opera company. It’s very important.