Song Lyu: Fostering the Next Generation of Opera Virtuosos
Soprano Song Lyu holds a Doctor of Music Arts in Voice Performance and an Artist Certificate in Voice Performance from the University of Kansas. She also earned an MM and BA from the Sichuan Conservatory of Music. Her operatic stage performances include Lauretta in Gianni Schicchi, The Second Knitter in Game of Chance, La Fortuna in L’incoronazione di Poppea, and Miss Jessel in The Turn of the Screw. Additionally, she has performed as a solo soprano in the world premiere of Psalm Symphony, H. 175 by Leo Sowerby, and has portrayed roles in scenes from Lakmé, La Traviata, La clemenza di Tito, Così fan Tutte, Lucia di Lammermoor, Into the Woods, Hansel and Gretel, among others. As a performing artist, she recently performed in the concerts celebrating Maundy Thursday, Good Friday, and Easter at Webster Groves Presbyterian Church in St. Louis and ICVMI Artists Concert Series in Kansas City. She is also set to perform in the operas Seahorse and Chew on This, premiering as the role of "Chew's mother" in the project "Come as You Are: Vulnerability in the Concert Space," produced by Lyric Opera of Kansas City and No Divide KC in June 2024.
Q1. Your journey in music has taken you from Sichuan Conservatory of Music to the University of Kansas, culminating in a Doctor of Music Arts and an Artist Certificate in Voice Performance. Could you share the pivotal moments and inspirations that guided your path toward such a distinguished level of academic and artistic achievement?
My Master’s advisor, Prof. Guonong Gan, played a significant role in driving my pursuit of higher-performing arts studies. He studied for his doctoral degree at Oklahoma State University several decades ago, and when I worked with him at the Sichuan Conservatory of Music, I learned about the advanced development of classical music in the United States, the active academic atmosphere at the University, and the world-class singers. After most of my students studied in the US, France, Italy, and Canada, Prof. Gan suggested I continue the advanced study in my field, and I felt I was ready to continue my advanced study as well.
In addition, my doctoral advisor, Prof. Joyce Castle, is the vital reason that I finally continued my doctoral degree and artist certificate under Prof. Castle. Because I am deeply impressed by her knowledge, vision, and personal charm. She is one of the most well-known American Mezzo Sopranos and has been active on the opera stage for 40 years; many of her students are active in the performing and academic fields. As a young singer, I was eager to learn from a larger, more professional performance stage after my graduation.
Q2. In founding the KU Chamber and Vocal Music Org (KUCVM) in 2022, you took a significant step in shaping the local musical landscape. What philosophical or artistic ethos underpins this organization, and how do you envision its impact on the chamber and vocal music community?
My original intention was to bring awareness to professional instrumentalists and vocalists to express world music culture in modern group music performances. KU has gradually become a leading university in the middle of the United States for supporting academic cultural diversity. The KU School of Music has attracted lots of international students from South America, China, Korea every year. However, we rarely have the opportunity to hear world music, and even more rarely have the opportunity to learn about music outside the classical music range. So, I'd like to organize a group that provides young musicians with more opportunities to perform in public but also allows people to know the music from different regions of the world.
Meanwhile, it involves promoting the diversity of the Kansas music environment through events that bring together musicians, Kansas universities, and different Kansas communities. For example, in Nov 2022, KUCVM supported the Kansas Chinese Music Association (KCCA) in producing the “Singing at KC” audition, which is also a competition to select music lovers from the Asian community for the upcoming Lunar New Year Gala. Besides, our members performed different kinds of music such as rock music, Chinese folk songs, and movie songs at the 2023 Nelson-Atkins Museum New Year Events, the 2023 KCCA Lunar New Year Gala, and the Kansas City Lantern Festival, etc.
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Kansas City Chinese Association (KCCA) Lunar New Year Gala, 2024
KUCVM Concert- Ending Speech, 2023
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KUCVM Chamber & Vocal Concert, 2022
Q3. As the director of the International Chamber and Vocal Music Institute (ICVMI), could you elaborate on the strategies you are employing to foster a vibrant and inclusive community of musicians and enthusiasts?
We would like to stay active in promoting the communication of Western Music culture and Asian Music culture, so we keep exploring many possibilities in music education and performance. The business of ICVMI involves Choir, Music Workshops, Competitions, and Summer Festivals. For instance, the little singers of the “Kansas Golden Choir” under ICVMI have performed both English and Chinese songs at the Kemper Museum and Johnson County Community College in Dec 2023 and Jan 2024 at Kansas City. In Dec 2023, we successfully produced the ICVMI Piano, String & Voice workshop at the University of Kansas. We also presented the ICVMI Spring Artist Concert Series in Kansas City this spring, which was freely open to the communities in Kansas City, the repertoire included English Art Songs, Operatic arias, and Chinese Art Songs. Of course, we are open-minded and still exploring more possibilities to connect with the community.
ICVMI Artist Concert Series, 2024
Kansas Golden Choir under ICVMI
Q4. Reflecting on the recent ICVMI Spring Artists Concert Series on March 22-23, where you served as director and lead soprano, presenting a blend of Operatic Arias and Chinese Art Songs, could you share your insights on the impact of this cross-cultural collaboration and the audience's reception to this unique musical experience?
The ICVMI concert series increased cultural understanding and awareness. On the one hand, it broadcasted traditional Chinese Music culture. As a country with thousands of years of history, China does not lack its own culture. However, around me, many young Asians have very little exposure to Chinese literature and art. Therefore, we selected several new art songs composed according to ancient Chinese poems, including “Cooing and Wooing” (关雎, Zhou Dynasty 1046 BC-256 BC), “The Southerners” (越人歌, Zhou Dynasty 618-907), “Flowers are more than flowers” (花非花, Tang Dynasty).
On the other hand, it also exposed many audiences to Italian opera and English opera. Unfortunately, most young people today are not familiar with operas although it is a genre with a history of hundreds of years. Some reasons are that foreign-language operas are obscure to English audiences, the technology has stimulated new musical genres and musical aesthetics, with most people rarely going to the theater to listen to opera today. Considering that, we would like to introduce more operas to community performances. As a result, we selected arias and duets from the Baroque period to the Romantic period by George Handel, Giacomo Puccini, and Giuseppe Verdi.
From the concerts, many young audiences who heard opera for the first time were shocked by the unique acoustics of opera, and many audiences were surprised to hear ancient Chinese poems they were familiar with. One of the pop singers in the audience said that the opera and classical singing were more impressive than he had imagined.
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ICVMI Piano, String& Voice Workshop, 2023
Q5. In your teaching role at Webster University, how do you integrate your rich performance experiences to create a dynamic and transformative learning environment for your students?
My teaching approach is student-centered, focusing on active learning and practicing. First, I believe that students learn best when they are actively engaged in the study, where they can apply their knowledge and skills to music practice. Therefore, I recommend different repertoire according to the level and character of the students. I encourage them to question and explore to become learners through feeling, experiencing, and imagining the movement of muscles, vibration, and breathing. Besides, I advise the student for their recitals, auditions, and competitions to improve their performing experience.
Also, I emphasize the development of individual aesthetic understanding. I believe in nurturing not only the repertoire study but also the emotional well-being of my students. Therefore, I aim to empower students to overcome the obstacles in singing, embrace nervousness as a part of performing, show their personality in performing, and develop a sense of self-confidence through their music performance.
Q6. Your engagement with the St. Louis community extends beyond academia, notably through your role as a soprano assistant at Webster Groves Presbyterian Church. How do you perceive the interplay between your artistic endeavors and community engagement, and what impact do you aspire to achieve?
I think an artist must spread art and serve the audience, so I don't just focus on what I am already familiar with, I also actively consider the needs of the audience. For one, I put the knowledge I've accumulated into the music I will sing. Tons of music originate from church music, and I have studied music related to different genres, such as oratorio, cantata, requiem, and sacred music throughout the Middle Ages, Baroque period to 20th Century music. And I appreciate that churches still act the valuable role in broadcasting classical music. For another, as a classical singer, it's great to keep open-minded to try a few different styles if needed. Apart from piano, I've worked with some different instruments, such as drums, bells, guitars. In addition to classical style, I've also tried some jazz-style American songs, pop music, a cappella, and new music in some concerts. These community music activities have provided me with more inspiration in classical music performance and production in the future, while also serving as a window for me to understand American social culture.
Song Lyu at performance
Q7. In 2024, you have upcoming roles in several future performances, such as "Chew on This," and "One Choice." Can you share any challenges or excitements you're anticipating with these roles?
Since "Chew on This" has not premiered, I cannot talk about it too much, but the story is about the officer and the popular social media we use today, so it will be really interesting. "One Choice" is written by Jamey Guzman with words by Jude O'Dell.
I am excited about the upcoming operas, but I have to say the challenge for me might be English. First, I have to study the words as seriously as I study Italian, French, and German. Because English is not my first language, even if I know the words, I have to confirm the vowels and consonants carefully so that I am almost 100% clear about what I am singing. Another challenge is the limited recordings of the new work. As we know, listening to recordings is important for classical singers, and the analysis of the recordings is even a required class to enroll in at music school. Therefore, it might not be easy to study without some examples or samples. But everything has two sides; it is fun to put my personality and understanding into the role, and all singers should be proud if they could be the first person to present the role.
Miss Jessel in the opera-The Turn of the Screw
Q8. As someone who continues to grow and develop as an artist and educator in a constantly changing musical landscape, what impact do you hope to have on your students and the next generation of musicians?
I hope to provide more inspiration and direction for the career development of the younger generation of students or emerging artists as one of the pioneers. In my life, I have encountered many remarkable women, including my doctoral advisor Prof. Joyce Castle with her legendary life, my mentor Prof. Stella Markou, and friends outside the music field. Many of them are doctors, law firm partners, or leaders of non-profit organizations. They all inspire me to bravely move forward, and therefore, I aspire to become someone like them.
Additionally, I aim to instill confidence in the youth through my ongoing journey of exploration and learning in my field. First, I suggest the younger generation accept their imperfection and not get frustrated by mistakes for too long because this is their opportunity to make progress. Once they solve the problem, they refresh themselves and become stronger than before. Also, if they're having trouble making decisions because of their lack of experience and panicking about the unknown, then it’s usually for them to find the directions.
Thirdly, I seek to mentor my students to be open-minded, encouraging minorities to bravely and confidently showcase their culture, and encouraging the majority to embrace the diversity of music, fostering participation in musical and cultural exchanges. Only in this way can the music culture continue to develop and thrive even more.
Q9. Reflecting on your journey and achievements, what advice would you offer to young musicians navigating the complexities of a career in music in today's world?
My advisor Prof. Joyce Castle used to tell me, "A good singer should work as an athlete," which means, for my understanding, an artist should keep healthy, confident, and persistent. My first suggestion is to believe in yourself, even if you encounter temporary difficulties, you will get through them as long as you are ambitious and patient. The second suggestion is to keep persevering. Stay a lifelong learner rather than standing still, and stay humble rather than being conceited. Because I think the more you understand, the broader your perspective becomes, often leading to increased wisdom to motivate you to continuously learn and improve. The third one is to be active in your field, including attending conferences, workshops, festivals, and performances. It not only facilitates networking and collaboration but also stimulates artists or educators to refine their performing and academic teaching skills.
La Fortuna in the opera-L'incoronazione di Poppea