Aveline Kirana
A Legacy of Artistic Development
The Apprentice Program for Singers, established in 1957, serves as a cornerstone of the Santa Fe Opera’s identity. Conceived by the company’s founder, John Crosby, the program was designed to bridge the gap between academic conservatory training and the high-pressure environment of a professional opera house. Since its inception, the program has become a vital pipeline for the industry, having nurtured the careers of over 1,500 singers. Notable alumni include international stars such as Joyce DiDonato, Michael Fabiano, John Holiday, Kate Lindsey, Will Liverman, and Rachel Willis-Sørensen.
The program’s reputation is built on a rigorous curriculum that balances performance requirements with intensive instruction. Each summer, approximately 40 singers are selected through a highly competitive national and international audition process. These apprentices are not merely students; they are active participants in the company’s mainstage productions, where they perform in the chorus, take on supporting roles, and serve as covers for principal artists. This "learning by doing" model ensures that participants gain real-world experience under the guidance of world-class conductors and directors.
Kevin Murphy: A Pedigree of Excellence
The appointment of Kevin Murphy as the new Director of the Apprentice Program brings a wealth of experience to Santa Fe. Murphy’s career is defined by his dual mastery of collaborative piano and vocal coaching. Since 2011, he has served as the Professor of Music in Collaborative Piano and the Director of Coaching and Music Administration at the Indiana University Jacobs School of Music, one of the premier music conservatories in the United States.
Murphy’s professional history is deeply intertwined with some of the most influential institutions in opera. He was the first pianist and vocal coach to be accepted into the Metropolitan Opera’s prestigious Lindemann Young Artist Development Program. Following this, he served as an assistant conductor at the Metropolitan Opera from 1993 to 2006, where he refined his skills in preparing singers for the demands of the world’s largest stage. His international footprint also includes significant tenures at the New York City Opera and the Opéra national de Paris, and he has led the Singers Program at Ravinia’s Steans Institute since 2011.
Robert K. Meya, General Director of the Santa Fe Opera, emphasized the caliber of this appointment in an official statement. "Kevin Murphy is one of the most respected teachers, mentors, coaches, and conductors of young singers working today, and we are thrilled to welcome him into this important leadership role," Meya noted. The choice of Murphy suggests an institutional desire to maintain the program’s high standards while potentially modernizing the coaching methodologies to meet the evolving demands of the 21st-century opera industry.
Susanne Sheston and the New Associate Director Role
Complementing Murphy’s leadership is the appointment of Susanne Sheston to the newly created position of Associate Director. Having served as the Santa Fe Opera’s Chorus Director since 2008, Sheston possesses an intimate knowledge of the Apprentice Program’s inner workings. Because the Santa Fe Opera Chorus is largely composed of apprentices, Sheston has spent nearly two decades overseeing the vocal health and musical preparation of these young artists.
Her promotion to Associate Director is a strategic move, ensuring continuity and stability as the program transitions under new leadership. Sheston’s deep institutional memory, combined with her proven track record in preparing complex repertory, makes her an essential partner for Murphy. By formalizing this role, the opera house is creating a more robust administrative and pedagogical support system, allowing for a more nuanced approach to the training of the apprentice cohort.
The Evolution of Vocal Training
The training landscape for classical singers has undergone a dramatic transformation over the last 30 years. In the mid-20th century, young singers often relied on smaller regional houses to learn their craft. Today, the competition for spots in elite apprentice programs—such as those at Santa Fe, San Francisco Opera, and the Lyric Opera of Chicago—has intensified, reflecting the broader economic and artistic pressures facing the opera industry.
Santa Fe Opera’s program remains unique because of its desert setting and its reputation for premiering contemporary works. Apprentices are frequently required to learn complex, non-traditional scores, which necessitates a high degree of technical flexibility and musical literacy. Murphy’s background in contemporary music and his extensive work with collaborative piano suggest that the program may lean further into the development of well-rounded musicians who are as comfortable with new music as they are with the standard Verdi or Puccini repertoire.
Broader Implications for the Opera Industry
The appointment of a high-profile educator like Murphy, paired with the elevation of a veteran like Sheston, reflects a broader trend in the performing arts: the professionalization of the "mentor-administrator" role. As the industry faces existential questions regarding audience development and the relevance of traditional opera, the quality of the "next generation" becomes paramount.
From a pedagogical perspective, the transition is expected to focus on three key areas:
- Career Management: Helping singers navigate the complexities of agent relationships, digital portfolios, and the audition circuit.
- Technical Resilience: Ensuring that young voices are developed sustainably to withstand the physical demands of modern production designs and larger orchestra pits.
- Repertory Expansion: Preparing singers for the increasing prevalence of 20th- and 21st-century compositions in major opera house seasons.
The collaboration between Murphy and Sheston will be closely watched by talent scouts, artist managers, and other regional opera directors. If the program continues to produce singers of the caliber of Joyce DiDonato or Will Liverman, the Santa Fe model will likely remain the gold standard for artistic development.
A Look Toward the Future
The upcoming season will serve as the first test of this new leadership structure. With the Apprentice Program integrated so deeply into the company’s seasonal operations, the success of the 2025 summer festival—and beyond—will be intrinsically linked to the work Murphy and Sheston perform in the rehearsal room.
The establishment of the Associate Director role also indicates that the Santa Fe Opera is looking to future-proof its training initiatives. By distributing leadership responsibilities, the company is ensuring that the program remains agile and responsive to the needs of its singers. In an industry where talent is the most valuable commodity, this investment in mentorship and pedagogical oversight is a clear indicator that the Santa Fe Opera intends to remain a primary driver of the global opera ecosystem for years to come.
Ultimately, this transition is about the endurance of the art form. By bringing in a figure of Murphy’s stature and empowering Sheston to continue her vital work, the Santa Fe Opera is reaffirming its founding vision: that the future of opera is not found in the past, but in the deliberate, rigorous, and inspired training of the next generation of voices. As these young artists step onto the stage under the New Mexico sky, they will do so with the benefit of a leadership team dedicated to the highest ideals of musical performance.
