The Professional Portfolio of Anthony Offerle

The professional portfolio of Anthony Offerle

Narratives

Teaching accomplishments

Studio:

At the beginning of my residency at UF, I had only six voice majors in my studio, and over the past three years, that number has as much as doubled. I am pleased with the progress of these young singers. The evaluations from my colleagues as documented on their jury forms, the studentsí successful performances in voice area and degree recitals, as well as solo performances with the choral ensembles and in the opera productions, are also positive. My student-generated evaluations have been consistently near the top of the curve. In the last four years, my studio singers have won seven first place and six second place honors in the North Florida National Association of Teachers of Singing (NATS) voice competition. My singers consistently place in the three-state Southeastern Regional NATS contest where they compete with other performers from all the major universities and music programs in the South. Recent regional winners include a first place in the graduate menís division and several second place awards including freshmen women and sophomore men. While competitions are not the only way to measure the success of our students, it is always gratifying to receive such positive feedback on oneís teaching from distinguished colleagues. One of the regional finalists accepted an invitation to join the Nashville Operaís Young Artists Program. My studentsí dedication to the academic study of their repertoire is noteworthy. Samples of their comprehensive study projects, which draw upon the knowledge gained in their music history, music theory, and language diction courses, as well as sample listening lists and syllabi, are included in the supplementary files. Awards for my students also include admission and academic grants to prestigious graduate schools where they pursue their master of music and doctoral degrees. These include assistantships and scholarships to the Cincinnati College-Conservatory of Music, The Arizona State University - Herberger College School of Music, and the Shenandoah Conservatory.

Opera Theatre Workshop:

In the fall of 2004, I formed the University of Florida Opera Theatre as part of a five-year plan to bring the production of opera back to the university and to offer our students greater opportunities to gain stage experience and enhance their performance skills. Since that time, this group has performed:

These productions have involved nearly 250 cast members and an equal number of instrumental student musicians. Those involved are offered master classes each year by guest performing artists and mentoring with those in residency as part of the larger productions. Many of the Collegeís finest instructors in dance, stage movement, fight combat, and character development, offer guest classes. This is in addition to the stage skills the singers garner through instruction and research in the Opera Theatre workshop production class. I am pleased that the collegial relationship that continues to be strengthened between music and theatre is benefiting our voice majors. There has been significant development in the stage performance skills of those students who availed themselves of the opportunity to participate in this program.

Recruiting:

Recruiting is the basis of building a strong opera program. During the past four years, I have made every effort to recruit and retain a number of exceptionally talented voice majors. Through contacts I have made in the professional world, European music festivals, conferences such as the yearly Florida Music Educators Association convention, as well as several personal recruiting trips to the New World School of the Arts in Miami, and the work with UF Opera Outreach, I have brought fourteen potential students to the university for undergraduate and graduate school auditions not including those contacted through the Opera Outreach. Each has been admitted and most have received scholarships and graduate assistantships.

Personal contact is paramount to the matriculation of these top talents. To that end, I have offered prospective students voice lessons, arranged a guided tour of the campus by either myself or an established voice major including visits to the three major venues (the University Auditorium, the Constans Theater, and the Phillips Center), and coordinated their observations of classes, lessons, and voice studio seminars. This is followed up by correspondences and phone contact.

As part of retaining students and offering them additional performing opportunities, I have arranged for many of the more professionally prepared singers to be engaged as church musicians where they receive a monthly stipend. I have also recommended them for concert work with regional symphonies and opera companies and, on occasion, invited them to complete vocal quartets in my position as a contractor for regional orchestras and choral societies.