An interview with California Music Teacher Magazine.
On Being an Opera Singer
An interview with Diana Skavronskaya
Editor’s note: Diana Skavronskaya’s personal assistant contacted the CMT Journal about sharing her performance and teaching career story with the magazine. The following is an interview between them.
Could you tell us about your journey from being a student at the Tchaikovsky Moscow Conservatory to being an opera singer living in the United States?
I graduated in 2019 from the Tchaikovsky Moscow State Conservatory, regarded as one of the most prestigious and globally respected institutions. During my student years, I performed on major stages in front of large audiences. I gained a great deal of experience working with esteemed conductors and directors at the Bolshoi Theater. In 2019, as I continued my education, I was offered to play the lead roles of Mimi from La Bohème in the country of Georgia, and Susanna from Le nozze di Figaro in Italy—both productions with a full orchestra. These experiences not only broadened my horizons, but taught me resilience and how to overcome challenges.
Later, fate gave me the chance to move to the U.S. and work here, continuing to refine my voice and pursue my career. I settled in San Francisco at the end of 2021 and soon after was recognized as an International Operatic Soprano and Classical Singer by the American Guild of Musical Artists (AGMA).
What major challenges did you face in your career and how did you overcome them?
There's one memorable episode of my life. I was in Italy to perform the role of Susanna from Le nozze di Figaro. This role is one of the longest and most demanding in the soprano repertoire. The performances were two weeks away. On the very first day of orchestral rehearsals, I learned from the conductor that the final piece—the most intense for all voices —would actually be performed in the finale of the second act. It was a big surprise for all of us, since the previous plan was quite different. I was left to learn 300 pages of Italian music notation in just two weeks, working eight hours a day. And the premiere was brilliant. This is what can happen on occasion—you arrive at a rehearsal and you find yourself facing unpredictable changes you need to overcome right on site. You need to be able to adjust. Having a good memory, being healthy, and most importantly, being professionally educated is a great help in dealing with these challenges.
I'll dwell on health for a bit. With experience, I have learned to recover fast if I get sick. I know that I am the one who will be singing the performance, and it is a big responsibility, so it is very important to be able to recover quickly. When I travel a lot to vastly different climates, my body weakens. However, I have learned to recover and sing in any condition, or in other words, to be a professional.
How do you balance your time giving solo recitals, performing, and teaching a new generation of musicians?
Each of the performances I mentioned above are very significant to me. I plan them many months ahead, and I have learned to switch and balance. What fuels me is the energy I draw from my recitals and big stage performances, as well as motivating my students. I often have my students attend my concerts, and I organize joint concerts to bring together several generations.
I have been engaged by the Gradus Ad Parnassum Music Academy as a vocal coach for the Opera for the Young program and to conduct Master Classes. For me, teaching is my life fulfillment. Sharing the experiences I have had over the years gives me incredible happiness, responsibility, and joy.
I never stop learning from professional coaches or from attending Master Classes. I never stand still: I'm excited to explore new things that I can pass on to my students, and to be a role model for a new generation of students. I try to find new ways for them to overcome difficulties.
My goal is to continue the dynasty of great vocal teachers. Fundamental to my education is the bel canto school of singing. The roots of my vocal education come from Manuel García himself, whose knowledge was directly passed on to me by my conservatory professor.
Tell us a little about the methods you follow while teaching. Where do you see your teaching going in the future?
Teaching is a world of self-discovery for me, and each student I work with makes me realize my own vocal abilities. By looking deep into each student's challenges, I find ways to solve them just as I have done myself. I tailor each student’s program individually, project their potential, and anticipate what their voice has to offer. Looking forward, I plan on continuing with teaching, as I feel I have so much to offer. The results I see are strong and my students are most grateful.
I would also love to author a book on teaching practice. I would even be interested in pursuing a degree in teaching and going deeper into the subject. For now, my main message is that every student needs to explore their vocal apparatus, how breathing works, how the larynx is structured, and what we use when we perform operatic music.
Could you share some of the key lessons you have learned during your education or career that you consider valuable to pass on to aspiring opera singers?
As Dmitry Vdovin, the Artistic Director of the Bolshoi Theatre Young Artists Opera Program would say, “To sing on stage and be at the top, rather than the last, you have to have a certain set of skills. Namely, a voice, a good memory, strong health, and a nervous system.”
I started teaching very early on. Knowing what the opera world means firsthand, I communicate my love for opera and tell my students that they must be dedicated to what they are doing. It's about trusting your intuition—to always speak the truth—to understand whether you will be able to cope with all the responsibility that lies ahead of you as an opera singer.
There is no room for error when you’re an opera singer: there is only you, your voice, and delivering a live performance to an audience. My students know from an early stage that to be a professional artist, you have to be very diligent and disciplined and follow what your experienced mentors tell you. Learning languages, perfecting pronunciation, and singing in different languages is a must. And, to be a literate musician, you must be competent in different musical styles.
I also tell my students that it's essential to acquire technique. I very often advise them to start with Baroque and keep their focus on Mozart’s music. At the beginning, students often want to sing difficult and beautiful parts, but they can't always properly control their voice. Some singers jump ahead and accept offers, but they may ruin their voice if the repertoire doesn't suit them for where they are now. Likewise, I explain that even later in life they may receive offers that won't be suitable for their voice. And it’s important to choose wisely and see clearly if they can cope with the repertoire.
How do you convey your passion for opera to students in your Master Classes?
It takes a devoted music enthusiast to become a music teacher. You need to have an absolute love for your craft to inspire a student to love music and pursue music education. This is such a beautiful and rewarding art form. And it is a very jealous art form—you must dedicate yourself to it or you will not be reciprocated. As much as I can I try to educate my students about what a beautiful and divine art form they are dealing with, it is very important to develop an unconditional love for performing works of opera music.
While I was a student, my professor shared with me many biographies of the greatest opera singers of the 20th century: Luciano Pavarotti, Renée Fleming, Maria Callas, and many others. I encourage my students to be as educated as possible, and to be engaged and creative. In my Master Classes, I share a lot about my own stage experiences. The eager eyes of young people who are so passionate about opera always fascinate me because I picture myself being in their place and eagerly listening to conservatory professors, soaking in every bit of their lectures.
Could you highlight the most significant accomplishments in your teaching experience?
Back in the summer at the Veksler Academy of Music & Dance all of my students worked hard as they prepared for a showcase concert at Santa Clara University's 400-seat auditorium on June 8 and 9. Also two of my students successfully auditioned and performed at Weill Recital Hall in Carnegie Hall on June 29. As a vocal coach, I couldn't be prouder of their accomplishments, and they truly deserved the highest recognition. It's always been our goal - to strive for excellence and compete on the world's stages.
Furthermore, I was actively preparing students for entrance into music colleges and universities and conducting professional development workshops for educators. For me, it is important not only to foster and cultivate my students' talent, but also to contribute to the growth and development of music education as a whole. And once again, I cannot emphasize enough how incredibly proud I am of my students' accomplishments.
What moments in your career are you particularly proud of, and why?
One of the most striking experiences was my performance last year in October at Carnegie Hall's Stern Auditorium/Perelman Stage in New York City in honor of the 150th anniversary of Sergei Rachmaninoff's birth. Sergei Rachmaninoff's music has always held a special place in my heart. I sang a lot of his music as a conservatory student. At that performance, I had an incredible chance to sing his music and share that legendary stage with some of the most talented singers of our time. My dream come true. The celebration was organized by the Cultural Exchange Foundation, with Maestro Constantine Orbelian as its president. I will forever be grateful to him for inviting me to sing Rachmaninoff on such an illustrious stage. Every singer should experience it at least once—to step on a stage that breathes fame and history.
Have you recently taken on any operatic characters on the stages of San Francisco?
Yes, indeed. In June and July 2024, I had the pleasure of returning to my beloved role of Mimi from Giacomo Puccini's opera La Bohème. It was such a rewarding experience, performing in nine shows with Pocket Opera and Cinnabar Theater, all right here in San Francisco. I'm grateful to Pocket Opera's Artistic Director Nicolas A. Garcia, Cinnabar Theater's Artistic Director Elly Lichenstein, and Music Director Mary Chun for their guidance and support throughout the production. I had wonderful experience working with them.
Could you share with us any upcoming performances and projects that your audiences and students are looking forward to?
Shortly after moving to San Francisco at the end of 2021, I founded the Opera Club (dianaopera.com). This is my passion project. The drive was to bring together an array of talented singers and musicians in the Bay Area and offer the community a chance to engage in classical music and operatic arias in a more traditional form. At our Opera Club concerts, we give insight into the opera’s plot, its historical context, and the characters. These monthly concerts have been a great success, and are always sold out. I received a Certificate of Honor from the City and County of San Francisco for my contribution in the art life.
In the winter of 2024, I will organize a uniquely immersive Diana Montara Ocean performance and art show at St. Joseph's Art Society.
I believe this is just the beginning of my musical journey. There are many more projects, roles, and recitals ahead of me all over the Bay Area and across the United States. There is always something to strive for, and there is no limit to operatic excellence.