Cindy Sadler
Promote the Importance of Art
The purpose of this project is to provide a collection of transcriptions from the COVID-19 pandemic of 2020. This project seeks to give a platform to all parts of the vocal performing arts to better understand the lived experiences and mentality of those professionals. In collecting stories from the COVID-19 pandemic, Cindy Sadler, contralto and Executive Director of Spotlight on Opera, spoke with me about the onset of the pandemic and the shifts that she made to her program to enable and enrich the lives of young artists.
Cindy Sadler, contralto and Executive Director of Spotlight on Opera
Interviewed March 19, 2020
TB: To start our interview, would you mind talking about where you are in your career and what you are working on currently?
CS: I am a professional operatic contralto, arts administrator, writer, stage director, and consultant. I wear a lot of different hats, as many do in this business. Last year, as part of my two-year contract at Centenary College of Louisiana—I was the artist-in-residence—I taught some voice lessons and directed and produced the singer's workshop. I am also the Executive Director of Spotlight on Opera, a summer artistic entrepreneurship program for singers. We are going to be in our 14th year this summer.
I have spent my entire life in the arts and in the trenches. I am not famous, but I have had a decent regional career and am very active in our community. I am just out there scraping along like everybody else.
TB: In addition to your singing, you often speak about the business of singing. Would you mind taking me through a bit of your work there as well?
CS: Of course. I started doing this years ago. I kept seeing singers ask the same questions repeatedly when the internet was really starting, and different forums were available to singers. Back then, it was really hard to find much of that information. You would have to dig through phonebooks, ask friends, or spend hours poring over the Musical America directory. As a result, I thought, "Why is there no compendium of information for this?" And if I see an opportunity, I'll come up with a way to fill it. I started a "resources for singers" website, which is still up and running somewhere, though I don't update it anymore. My new website has "Cindy's List," where I have an updated resources list.
I started writing for Classical Singer Magazine, which also contributed to people coming to me for answers. But I have always said that this is my experience and what I know; it doesn't mean it is the only answer. But I am willing to talk frankly about it because older and more experienced artists did that for me. They were my resources when I was coming up. I had a lot of great advice from people because I approached them appropriately and was friendly. For years now, I have also done one-on-one consultations with a wide variety of singers, both in-person and online, even before COVID-19 happened.
TB: I have noticed that you are trying to highlight resources for singers and help them connect as they go through this crisis. Could you take me back and describe where you were and how you realized that your life was going to be affected by the pandemic?
CS: My husband and I both work from home and don't have kids, so the change is not as apparent for us right now as it is for those who are out in the world every day. I am also slower to react, but I had my first episode a couple of nights ago when I felt despair about the pandemic. However, my reaction to challenges is always, "How are we going to manage this?" That is the arts administrator in me because you have to be prepared for crisis management. Nothing is ever going to go the way you want it to.
Normally, I have a "Coffee Clatch," which is an informal and inexpensive way for people to get answers because not everybody can afford to pay a consultation fee, and I like to work with all levels. So, one of the first things I did was to move that online, and I invited people to come to a free one to hear me talk about some of the things we can do, then we are going to open it up to share problems or to talk. For me, what came out of it was a reinforcement of how generous and creative the artistic community is. Dann Mitton talked to a young graduate student who had just graduated and was home alone in her apartment with no idea what to do next. He said, "As an artist, adversity is your birthright." I kept thinking about how truly profound that is and so true because you can give any one of us a dirty sock and a jar full of pennies, and we will figure out something to do with it.
This pandemic has also affected me because I did have a contract with Shreveport Opera, which was cancelled. They handled it beautifully, though. I received a personal phone call from the General and Artistic Director, Steve Aiken, a week before they announced the cancellation. He said, "I am so sorry, but it looks like we are going to cancel. We are not making the decision until next week, but I want you to know we will probably have to cancel out of an abundance of caution." It still wasn't awful in Shreveport, but, like everybody else, they have elderly patrons, and it wasn't worth taking the chance. But the next thing he said to me was, "But don't worry. We are going to pay you." And so, I was one of the lucky ones because they are paying me my full fee, which I know that a company that size cannot afford to do. I said something about that, and Jennifer McMenamin, Executive Director and COO of the company, said, "Pay it forward," and I took that to heart.
My summer program, Spotlight on Opera, was already on my mind when all the cancellations started to happen, and we decided not to cancel. (Fortunately, I didn't have to make that decision until mid-May.) I had already begun developing a plan to take the whole program online. There were faculty members who promised me five weeks of their time in the summer and students who paid some money; I would not leave them high and dry. Plus, it isn't easy because I can't give the students back their money and pay my faculty. But I can have a summer program online. We cannot do the performances the way we want to, but we can do everything else and still provide a lot of value.
Then, I started reading postings from younger singers that not only are programs cancelling on them but they may or may not be getting their money back. Also, they have lost all the money they spent on audition fees, travel, and plane tickets. It occurred to me that there is no reason that I can't do another online program in addition to Spotlight on Opera; I would just do it earlier. So, I asked a bunch of really awesome people in the arts if they would sign-on. The first person I asked was Christine Goerke, and her response was, "Hell yes, I'll do it." Not a single person I asked turned me down, and I have had people contacting me to volunteer. I told everyone of the faculty that I would pay them something, but it probably wouldn't be very much because this is a pay what you can program. But the big point is that all of these people at the top of the vocal performing arts field are coming in wanting to help young artists and to keep art going.
TB: One of the things you mentioned was the fees that students have incurred combined with the massive cancellations occurring. How do you think this will affect their businesses in the future?
CS: First, we don't know what is going to happen. I think it is premature to say the business isn't going to go anywhere. We are going to go through a tough time. But I do see many opportunities to demonstrate the importance of art in everyday life with people having to be isolated in their homes. Staying connected with our audiences is one of the most important things that we can do. Many artists do a great job of this, so keep reaching out to people. When possible, offer your community something that is not just presentational but interactive in some way. The DIY program is also highly interactive, with programs to expose people to the arts to help people see and remember how vital the arts are.
I am also studying for an MFA in Arts Administration, and the other night my professor said, "When we get through this, people are going to be desperate to go out. They are going to want human contact and to do things that they haven't been able to do." I was doing Falstaff during 9/11, and we had a performance on 9/12. The company was wondering whether they should cancel, and anyone would come. The performance was packed because people wanted to be together and wanted to escape reality. That is what the arts do for people. Especially in the classical arts, we have not entirely made that connection so that people continue to value the arts. We constantly have to fight for our place at the table. But I see this as an opportunity for hope.
TB: Could you talk about how you are seeing this situation affect artists' creative processes?
CS: The biggest thing I am seeing is many artists—especially older artists—who are having to make adjustments to their routine. Of course, we are all making adjustments. But some of the master teachers have never taught online, may not be comfortable with the technology, and may not own the right technology. They are having to take their lessons online if they want to keep their livelihood going. Universities could be going online as well, but hopefully, they support their teachers to do so. That is a big adjustment that many are having to make.
It will also affect the way we teach because the technology that we have available to most doesn't allow for traditional teaching methods. Only one side can speak at a time because of delay. There are certainly ways to tweak things and setups that make delay better, but right now, that is just the fact. To address that in the DIY program, we are going to have coaches record arias for students. They will be able to talk to the student, work with them, and record the arias the way the student wants to sing them, so then the student will have a recording of that to sing with. Otherwise, there is no way for us to do a concert with students performing live. So, it is an adjustment and a different kind of collaboration because most classical musicians don't know how to do this, and we will have to work it out.
TB: In reflecting, how different was your life six weeks ago?
CS: Well, six weeks ago, I had some voice students. I had this gig coming up, and my husband and I had lots of plans around that because he was planning to travel with me. I spent a lot of time getting ready for our summer program: recruiting, working on the schedule, writing contracts for my faculty, and all that stuff. We like to go out to eat a few times a week, but it hasn't been a massive change for us because we already work from home.
Now that it [COVID-19] is at our doorstep, and I am taking a lot more precautions. First, I wrote a letter to my faculty to explain what was going to happen—I took time to write a letter to the students because I wanted to figure out what we would be able to do for them. Finally, I sent a letter to my voice studio saying that we would need to move to an online studio for now. Several of them don't have the technology or understanding, so they didn't want to do online lessons. Others are concerned about their income—like many of us are right now, they can't see spending any money on voice lessons, which I understand entirely. So, it has really impacted the studio and the way we shop for groceries.
TB: Because you are always thinking and planning the next project, how do you envision the pandemic changing our musical landscape?
CS: It is true that I do that, but I want to interject that I don't want anyone to think that I am endlessly strong: nobody is. In this kind of crisis, everybody will have days when they are the ones who need help. And particularly people who tend to buoy other people. I want to caution people to look for the helpers. As Mr. Rogers said, sometimes we need to reach out a hand to help the helpers. And nobody should feel like they have to be the strong one all the time. Take it day by day, and if it is not your day, someone else will step up. That is an essential survival tip for all of us getting through this: you don't have to be the strong one or the leader all the time. As far as what I think might happen, I believe that we are going to lose some organizations; there is no question. Organizations that haven't handled their money well or that don't survive the court of public opinion because they haven't taken care of their artists—there are a bunch out there. I think that is short-sighted of them.
I think society is going to change somewhat, or at least I hope it will. We are seeing things like the Venice Canals start to run clear and dolphins and swans return. I saw online that animals are walking down the streets of deserted cities. That, to me, is a very clear message that we do make a lot of noise and mess, and the minute that we are gone, nature starts taking back over. There is a real lesson for us there. A friend was talking about how he was walking his dog and how kind people are being. Everybody is waiting and keeping our distance from each other. The pandemic is forcing society to slow down and appreciated things that we haven't enjoyed before.
I hope that art will continue to be one of those appreciated things. That we will see everything that artists are doing, from the top all the way down to our high school kids who didn't get to do their spring musical; and that we will say, "This is an important part of my life," and that, "I want it." I think people want it, but also that they don't see it as essential. I understand that: you have to have a roof over your head, food on your table, and clothes on your back. But it is easy to say, "I can live without art." Can you really? The role of the arts is something that we as a society are going to have to figure out. If artists handle this the right way, then we can promote the importance of art.
Also, we don't know exactly how this will look six months from now or a year from now; nobody does. I believe the arts will make a comeback because so many of us who are artists have to make art. We are also really creative people who are natural problem solvers. We are going to figure a way out, and it will come back. It may have to be rebuilt, but hopefully, the arts will be in an even better format than what we have now.
TB: First, I want to thank you for your beautiful thoughts throughout this interview and for the work you are doing for young artists with the DIY project. Lastly, what is your video binge recommendation?
CS: Oh, it is on Amazon Prime, and I have been rewatching all the seasons of True Blood.
TB: Thank you again; it has been a pleasure to speak with you today.
Addendum: October 10, 2021
Since we last talked, Ms. Sadler has been busy as always. In responding to the pandemic, she led a star-studded faculty for The DIY Summer Program for Classical Singers. As mentioned in her interview, this program filled a gap for 65 participants as their summer programs were postponed or cancelled. The faculty included: Christine Goerke, Michael Chioldi, Susan Eichhorn Young, Beth Parker, Ana de Archuleta, Robert Mirshak, Nadine Weissmann, René Barbera, Clare Burovac and Christopher Mattaliano, Nicholas Clapton, Tara Faircloth, Beverly Thiele, Kathleen Kelly, and Michele Capalbo. In continuing Spotlight on Opera, Ms. Sadler managed to pivot to an online season in both 2020 and 2021. The virtual format allowed students a more individual interaction with teachers and coaches. It also helped students (and faculty) grow in their new landscape of virtual programming.
Additionally, Ms. Sadler has completed her Master’s Degree coursework and is writing her thesis that is currently titled, “Grassroots Opera Companies Are Pivotal in Eliminating Elitism in Twenty-First Century Opera Ecology.” Ms. Sadler is presently transitioning to working with Florida Grand Opera as the Marketing and Communications Manager. As she noted, the story between General Director Susan Danis and herself began in 2012 when both were at Sarasota Opera. Ms. Sadler was singing The Old Baroness in Vanessa, and Ms. Danis was the Executive Director for Sarasota. Immediately following this both worked at Florida Grand Opera, and now they will reunite after almost a decade.
About Cindy Sadler
Cindy Sadler’s eclectic operatic career represents the benchmark of entrepreneurial artistry. A standout performer in any cast with her rich, abundant contralto and charismatic characterizations, she has made herself indispensable in the classical music arena through her writings, consulting and educational work, as well as her fresh vision for the stage.
Most recently, Cindy made her role and company debut as The Mother in The Consul with Dayton Opera and performed her first Sondheim role, Madame Armfeldt in A Little Night Music with Alamo City Opera. She also jumped in as Carmen with the Irving Symphony, reprised a signature role, the Marquise de Berkenfield in La fille du regiment with both Austin and Intermountain Operas, and made her Atlanta Opera debut in another signature role, Gertrude in Romeo & Juliette. Cindy’s extensive repertoire includes Marcellina (Le nozze di Figaro), Mistress Quickly (Falstaff and Sir John in Love), La Zia Principessa/Frugola/Zita (Il trittico), Erda (Das Rheingold), Ruth (Pirates of Penzance), Mrs. Sedley (Peter Grimes), and many others. She has appeared on the stages of Chicago Lyric Opera, Atlanta Opera, Florida Grand Opera, Portland Opera, San Antonio Opera, Tulsa Opera, Austin Opera, Chautauqua Opera, Central City Opera, Fort Worth Opera, Mill City Summer Opera, Des Moines Metro Opera, The Princeton Festival , Opera Idaho, the Hollywood Bowl, the Christine Company of Phantom of the Opera, and many others.
As a stage director, Cindy is known for creative storytelling that offers a unique or unexplored perspective into the minds and hearts of the characters. Recent productions include La Vie de Boheme (an original concept for the Hurley School of Music at Centenary College of Louisiana), L’elisir d’amore and Prince Orlovsky’s Ball for Spotlight on Opera, and her international directing debut with a double bill of Suor Angelica & Gianni Schicchi at the Mediterranean Opera Festival in Caltagirone, Sicily. In 2018, she will reprise a new script and production of Prince Orlovsky’s Ball for the Hurley School of Music, and direct La Bohème and The Pirates of Penzance for Spotlight on Opera. Cindy’s directing credits include Gianni Schicchi for Opera Idaho, Little Red Riding Hood for Syracuse Opera, and Cavalleria rusticana, The Ballad of Baby Doe, The Crucible, Die Zauberflöte, Abu Hassan, and The Medium (Spotlight on Opera).
Known throughout the classical music world for her Mezzo With Character blog and 20+ year association with Classical Singer Magazine as their “Ask Erda” advice columnist, Cindy’s frank and witty writings on the classical singing industry are required reading, and she is one of the most often shared writers on the topic. She is also the author of The Student Singers’ Starter Kit, an essential book for students and parents considering a career in the arts. More recently, Cindy has begun to create her own translations of opera (a Gianni Schicchi set in 1980s Texas; English dialogue for The Magic Flute) and customizable concept productions which are especially suitable for young voices. These include La Vie de Boheme, a musical exploration the Bohemian life from a historical and cultural perspective; and Prince Orlovsky’s Ball, a two act opera based on Act II of Die Fledermaus, with original script which is rewritten for each new cast.
Cindy’s knowledge of the industry and passion for education led her to create The Business of Singing consultancy, which for twenty years has been the go-to source for artists hoping to troubleshoot their careers. In addition to hundreds of private consultations and special projects, Cindy has given workshops to students at The San Francisco Conservatory, the Puerto Rico Conservatory, UCLA, Des Moines Metro Opera Young Artists Program, the CoOPERAtive program at Westminster College of the Arts, Portland State University, Resonanz Opera, Opera
San Jose, the Classical Singer Convention, and many more. She also established Spotlight on Opera, a premiere artistic entrepreneurship and training program for career track and avocational singers, currently in its 12th season. She is also the Artist in Residence at the Hurley School of Music at Centenary College of Louisiana, where she teaches voice and directs the Singers’ Workshop.
Cindy continues to explore, create, advise, educate, and innovate in the field of classical singing.
