The NOS runs a nine-month
full-time training programme which begins in September of each year. The programme is open to singers and répétiteurs. All Young Artists benefit from:
• Intensive one-to-one coaching
• Close links with the six main UK
opera companies who monitor
Young Artists’ progress throughout the programme
• A strong emphasis on ensemble work
• Regular acting and movement
sessions to benefit both
repetiteurs and singers.
• Professional coaches drawn from
British and European opera
• Individual coaching in Italian,
French and German. Russian
and Czech language coaching is
available when required.
• Regular classes in Italian
Fees and Funding
Young Artists do not pay any fees to train at the Studio. The cost of training is generously covered by NOS donors, supporters and stakeholders.
Successful applicants will be expected to cover the cost of living in London for nine months during the training programme. The NOS has a limited Bursary Fund which is available to those in need of financial assistance. Upon formal offer of a place NOS Chief Executive, Emily Gottlieb, will discuss eligibility.
Singers learn not only complete roles during their training but several supporting roles and ensembles for scenes performances.
The NOS arranges individual coaching sessions on core roles with celebrated professional singers. Their valuable insight and advice, gained from experience in performing roles at the highest level, is of enormous benefit to the trainees.
At the end of the programme
singers give a presentation of a selection from their core roles to representatives of the main UK opera companies.
Ensemble calls & workshop
Young Artists work together on scenes from selected operas taking these into production. Directors are engaged to rehearse these scenes.
One to one movement sessions and group dance classes strengthen each singer’s posture and awareness of their body.
Individual and group classes are given to improve acting skills and stage presence.
Masterclasses are given by renowned singers and conductors.
Learning to coach singers
Initially, répétiteurs are coached by experienced members of music staff during music calls with singers. Later in the course they have their own sessions working with singers on the preparation of music. Répétiteurs also receive language coaching, movement sessions and some singing tuition.
Training in conducting
Sessions are arranged with visiting conductors on conducting technique. There may be the opportunity to conduct in production rehearsals.
Observer within an opera company
A short period in the course is set aside for répétiteurs to work with the Heads of Music of the main opera companies and observe rehearsals and performances in London.
Residencies with opera companies
During these residencies répétiteurs
work with the music staff of the opera company and also attend rehearsals. Répétiteurs also prepare singers for the public concert given at the end of each residency. They may also be given the opportunity to perform keyboard parts with the companies’ orchestras.
‘NOS showed me how important it is to get the enjoyment in performance when abandoning yourself to your primary instincts regarding music. It brought me back to life!’
‘I have loved working with so many caring people at the Studio. Working with you all has inspired me to care more about music.’
‘The National Opera Studio has been one of the most rewarding years I have had. Kathryn Harries, Mark Shanahan, and Jeremy Silver have worked with me on every aspect of being a true artist to bring out the best in me. They have given me confidence in myself and in my ability which is something truly priceless.’
‘I have felt privileged to have been selected for NOS this year, to be surrounded and guided by such inspiring coaches, singers, conductors and directors, it has been invaluable to my growth technically and emotionally. It has been intense, extremely hard work but utterly rewarding. I want to thank all the sponsors of NOS for enabling us all to take part in such a wonderful institution that may not have been possible without them.’