Denyce Graves: I hear wonderful voices all the time, but that does not a career make. Ego’s absolutely necessary. When you’re standing up in front of thousands of people, you have to believe that what you have to offer is unique.
As an African American woman who’s made a name for herself in an industry that traditionally excluded us — although it’s changing now — I say to my students: “We’re going to focus on being great. If you’re great, you make it impossible for anyone to say no.”
I first met Symone during her graduate studies at the Peabody Institute at Johns Hopkins [in Baltimore]. She was working at Starbucks, and she’d have to be there at 4 in the morning. She’d sometimes come to the conservatory before her lesson. There are two couches in my studio, and she’d lie down and listen during other people’s lessons.
Work with the voice is intensely personal. It’s not like studying the piano. You are the instrument. If there’s something wrong with the piano, you can get a new one. But you cannot get a new you.
Symone Harcum: During one lesson at Peabody, I thought I was doing really, really great. And then Denyce said, “Your voice is beautiful. But it’s not enough.” I was like, “What is she talking about?” She’s extra dramatic.
What I’ve taken from Denyce is this: We are always singers. What I eat and drink, when and how long I sleep, how I speak while socializing — it all affects my vocal health. This career takes constant dedication.
We audition a lot, especially as young artists. Denyce says to go in as if you’re “presenting them with a gift.” A lot of times, rejection might not have anything to do with you. All you can control is what you bring into that room.
Interviews have been edited and condensed.
Makeup: Ivory Lashay
