Oak Park singer wins national prize

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Christine Steyer | Photo courtesy of Belissimo Opera

Updated: June 6, 2011 12:10PM

Prizes count for a professional musician. A list of awards on a curriculum vitae is an eye-catching testament to ability and skill.

So soprano Christine Steyer of Oak Park was more than pleased when she learned that she was named the solo female winner of the American Prize for Vocal Performance in the art song division.

Even better, to win the award, established in 2009, she did not have to compete in the sweaty-palms atmosphere of a live competition. Instead, contestants simply submitted their own recordings.

“That is unusual,” admitted Steyer, who had just returned from Modesto, Calif., where she sang the title role in Puccini’s “Madama Butterfly” at the Gallo Center for the Arts.

Ready to go

“But I had things ready to send. I had done an all-Russian recital, accompanied on the piano by Philip Morehead, at the Acorn Theater in Three Oaks, Michigan for their Opera at the Acorn series.”

Morehead is head of the music staff at Lyric Opera of Chicago and Lyric’s Ryan Opera Center. “He is marvelous, a real scholar “ she declared. “We had recorded the recital, so the first five numbers on my disc were from that recital.”

Composers included Prokofiev and Tchaikovsky. Contestants were required to submit songs in English and other languages. Steyer included Ralph Vaughan Williams’ “Dona nobis pacem, Dona nobis pacem,” sung in Latin in a live performance with the Heritage Choral, conducted by Maurice Boyer, and “Fleur” by Francis Poulenc, sung in French and accompanied by Jeffrey Panko.

Her English submissions, also accompanied by Panko were “Jupiter Has Seven Moons” from Leonard Bernstein’s “I Hate Music!” and “St. Ita’s Vision from Samuel Barber’s “Hermit Songs.” “I did several recitals with Jeffrey,” she said, “so I selected entries from those.”

Rewarding talent

David Katz, composer, conductor, and arts advocate, is principal judge of The American Prize and one of its founders. “There are several things that are different about this award,” he explained. “Going to competitions is expensive for singers, so we utilize modern technology and have them send recordings of their best material.”

“Plus each finalist receives an evaluation of his or her work,” he continued. “We give constructive criticism. A judge might say, for example, that the song selected was just not right for the singer’s voice.

“Musicians are sensitive beings,” he added, “and we want to help them improve, not crush them.”

The American Prize has no age limit. This acknowledges that, though the majority of vocal competitions have a cut-off age of 30 or 35, large, operatic-style voices continue to improve well into the singers’ forties.

More than 128 singers in all categories from 28 states competed for the 2011 American Prize, Katz said. He is based in Connecticut but the four or five additional judges are located throughout the country.

The prize was established, he continued, because there is a great deal of excellent music being made throughout the United States that goes unrecognized and unheralded. In addition to voice awards, there are competitions for conductors, ensembles, pianists and composers.

“Most artists will likely never win a Grammy award, or a Pulitzer, or a Tony, or perhaps ever even be nominated,” Katz said, “but that does not mean that they are not worthy of recognition and reward. Quality in the arts is not limited to the coasts, or to the familiar names, or only to graduates of the most famous schools. It is on view all over the United States, if you take the time to look for it. The American Prize exists to encourage and herald that excellence.”

The award includes a cash prize, evaluations, as well as profiles of the winners on the American Prize web site, with links to excerpts of winning performances.

Mercer Award

The American Prize is the second award Steyer has won this year. In January she traveled from Oak Park to Savannah, Georgia, for the American Traditions Competition, where she won the Johnny Mercer Award for her rendition of Mercer’s “The Days of Wine and Roses.” “My gorgeous arrangement was done by the fabulous Beckie Menzie,” she said, referring to the highly acclaimed Chicago cabaret artist.

That competition embraces all kinds of music from gospel to show tunes, pop, and classical. “We had to demonstrate proficiency in at least three genres,” Steyer explained. “I chose opera, show tunes and folk.” Her accompanist during three rounds of competition was David Shenton, whom she praised highly. Her repertoire included works by Menotti, Kurt Weill, Andre Previn, and Cole Porter, as well as the folksongs “He’s Gone Away” and “Poor Wayfaring Stranger.”

The judges for American Traditions included the legendary operatic baritone Sherrill Milnes, as well as cabaret artist Christine Pedi, Broadway singer Craig Schulman, mezzo-soprano and teacher Hilda Harris, Broadway singer and actor Chapman Roberts and jazz pianist Joel Martin.

“There were initially 70 applicants,” Steyer said. “It went to 33 in the quarter finals, 12 in the semi-finals, and five in the finals.” She came home from Savannah with not only the Mercer Award, but the Bronze Medal for Best Overall Singer.

Steyer has received major awards at the Altamura/Caruso International Competition and National Opera Association Competition. In addition to Butterfly in California, her roles have included Pamina in”The Magic Flute” with Tulsa Opera, Abigail in “The Crucible,” the Marschallin in “Der Rosenkavalier” and Violetta in “La Traviata.”

She also sang small roles at the Lyric Opera of Chicago. “I auditioned for them,” she said. “It was amazing to perform in operas with international stars. I learned so much from observing them.”

But in addition, Steyer creates her own opportunities. She has established the Oak Park based Bellissima Opera Outreach, which last year brought free music programs to 9,000 school children. “I’ve taken my program to three states, to rural and urban schools,” she said. “It is a 20 minute program and I give it in four classrooms in one day.

“In a classroom I can make eye-contact,” she said. “I can share my music with children.” The schools incur no cost, as she secures sponsors for each performances. She wears pants and a fancy shawl, which allows her to portray a variety of operatic characters. In addition she brings all her own equipment, including musical accompaniment recorded to her tempos.

“On July 9 Phil and I are doing a recital of American music back at the Acorn Theater Three Oaks,” she continued. “These are difficult times for the arts. With the economic downturn, we have lost about 30 to 40 percent of our small opera houses, and others have cut their seasons or are presenting shorter runs.”

So winning those prizes is more important then ever.