YAP Online Program - Session 3 - From YAP to Professional Singer - Bryan Hymel & Juliana Zara

Summary
Michael Pegher led a podcast conversation with Bryan Hymel and Juliana Zara about their paths into opera, their young artist experiences in America and Germany, and the moments that launched their careers. They compared differences in voice expectations, language, artistic culture, and career pacing. Both stressed the importance of self-reliance, personal branding, and learning to manage the pressures of the profession. Michael wrapped up by thanking them and pointing out the value of adjacent careers in helping artists stay financially steady.

Details

Initial Greetings and Personal Updates
The session opened with casual greetings and updates between Michael and Bryan. Michael shared that he was in Amsterdam because of a family tragedy involving his wife’s brother (00:00:00). Juliana joined shortly after, and they chatted about Bryan’s new neon sign and Juliana’s recent private marriage in Copenhagen (00:08:42) (00:12:10).

Insights into Personal Backgrounds
Juliana explained that she did not grow up in a musical household—her father was a commercial diver, her mother a nurse—and that early musical theater experience helped her avoid the typical “opera singer” persona (00:30:42) (00:31:39). Bryan shared that his parents were accountants and that he was simply pulled toward music from a young age (00:32:43).

Podcast Session Structure
Michael outlined the plan for the session: he would guide the conversation and ask them to highlight differences in their journeys (00:13:39). He explained that having both singers present allowed a comparison between young artist life in the US and in Germany (00:14:33). The official recording started later so informal conversation could be trimmed (00:17:35).

Bryan’s New Teaching Position at IU
Michael congratulated Bryan on his new position at Indiana University. Bryan had just finished his first month, teaching around 20 students across several degree levels (00:15:31). He described the studio as beautiful, the colleagues great, and the packed schedule helpful while his family remains in New Orleans (00:16:12).

Bryan’s Educational and Career Path
Bryan traced his studies from Loyola University New Orleans to the Academy of Vocal Arts, then to Westminster Choir College for a master’s in Voice Pedagogy during COVID-19, which he called a “hard wake-up call” (00:16:48). Those experiences led him to teaching roles and eventually IU (00:27:12).

Juliana’s Start in German Opera
Juliana described moving to Berlin for her master’s degree at Oberlin’s suggestion. She applied to opera studios and was accepted into the Bavarian State Opera program—unexpected, given her light lyric voice in a house perceived to prefer big voices (00:19:57) (00:35:29). During COVID-19, the program provided stability, a salary, and ongoing training despite fewer stage opportunities (00:21:19).

Juliana’s Breakthrough Role: Lulu
Juliana recounted her “Lulu moment”—auditioning for the Bavarian State Opera with Lulu despite being told to use repertoire she could sing immediately (00:22:17). Her performance secured her a place in the ensemble with the promise of a Lulu production later (00:23:22). That production, with a remarkable director, brought prize nominations and major momentum (00:24:14).

Bryan’s Breakthrough Role: Les Troyens
Bryan shared his own “Lulu moment,” beginning with stepping in for Les Troyens at Dutch National Opera on short notice (00:28:01). The success led to another performance at Covent Garden in 2012 after a cancellation. Six months later he sang the role at the Met, which led to a Warner recording contract (00:28:47).

Discussion on Voice Size and Auditioning
Juliana noted the surprise many felt when a light lyric voice entered Munich’s program, where big voices were thought to dominate (00:35:29). Bryan added that his mixed timbre did not always align with US expectations, which tended to favor an Italian sound (00:38:21). Michael contrasted American preferences for larger voices with German houses that prioritize technique and musicality, citing Mannheim as an example (00:37:32).

Challenges and Benefits of Performing in Different Languages
Bryan described singing in Czech in Ireland while still learning the language, and the time it takes to internalize a foreign language enough to express freely onstage (00:39:24) (00:33:41). Juliana noted that her master’s program functioned fully in German, prompting her to learn the language at her mentor’s urging (00:36:33).

Impact of House Size and Acoustics
Bryan stressed the need to sing as healthily as possible regardless of house size, since acoustics vary widely (00:46:18). He noted that US houses like Houston are enormous, while many German houses are smaller (00:39:24). Juliana warned against chasing an “ideal” voice size and emphasized the total package—voice, presence, and individuality (00:43:18).

Artistic Approaches in Europe vs. America
Bryan compared the scenes, saying Europe and the UK feel more vivid and exploratory, partly due to public funding (00:49:45). He described much of American opera as nostalgic and museum-like. Juliana agreed, preferring the reinvention typical of European theater while acknowledging the lack of diversity that persists there (00:44:27).

Importance of Voice Teachers and Self-Sufficiency
Michael asked how each found the right teachers (00:51:25). Juliana said that while trust in a teacher is essential, becoming one’s own teacher matters more, given the demands of freelancing (00:53:34). Her program offered four rotating teachers, which was sometimes difficult but helped her build a personal toolbox (00:54:39).

Personal Branding and Marketing for Artists
Juliana emphasized branding—having a clear look, choosing the right repertoire, and keeping a website and social media current (00:55:42). Michael noted that these elements are often undervalued but essential for building a career (00:56:43).

Artist Development and Self-Reliance
Michael raised the issue of new teachers wanting to “reinvent the wheel” (00:57:40). Bryan explained that strong technique allows singers to stay consistent and independent, and that this independence is essential for longevity (00:58:36) (01:00:04). Juliana added that singers can’t rely on acoustics and must develop an internal sense of their sound (01:13:56).

Personal Branding and Identity
Michael revisited branding. Juliana advised artists to understand what makes them unique and how their voice expresses that, describing her own artistic niche (01:02:01). She stressed the importance of a memorable look, especially since agencies evaluate marketability (01:04:36) (01:07:14).

Challenges and Pressures on Female Artists
Juliana addressed pressures unique to women—being “skinny but not too skinny, pretty but not too pretty”—and noted that men do not face the same intensity of scrutiny (01:06:29). This makes memorability crucial beyond vocal ability.

Strategic Marketing and Uniqueness
Michael emphasized the role of individuality in casting (01:08:20). Bryan shared that his unusual sound became an advantage in Europe, where he was marketed as unique (01:09:41). His French heritage also fit naturally with the high French repertoire (01:10:31).

Adjacent Careers and Financial Stability
A Student asked about the role of being an au pair (01:14:47). Juliana said her au pair year in Vienna helped her adapt to a new culture, even if the childcare itself was tough (01:15:27). Bryan spoke about the importance of adjacent careers for financial stability, especially for voices that mature later (01:16:34). Michael added an example of a mezzo-soprano who maintains a “real job” to financially support her singing (01:18:15).

Conclusion and Future Opportunities
Michael closed by thanking Bryan and Juliana and reminding Students that enrolling in the first online course unlocks access to all future online courses released that year (01:19:09).