The Partial Observer by Dwayne Croft

From Glimmerglass to the Met

Earlier this summer, I returned to Cooperstown to help celebrate the 50th anniversary of The Glimmerglass Festival, a place that, quite simply, changed the course of my life. Standing once again on their majestic campus, I was inspired to reflect on my own journey as a performer and as a person, as well as the impact the festival has had on the world of opera.

That journey began when I was 14 years old and living in Cooperstown. I never could have imagined I would end up on the stages of New York City’s Metropolitan Opera and London’s Royal Albert Hall, singing duets with Luciano Pavarotti. At that time, I was just a kid playing in the high-school band, and I heard about something called “Glimmerglass.”

In the summer of 1975, Glimmerglass was still what founder Peter Macris called a “fledgling effort.” Performances were staged in the high-school auditorium, often with only 30 people in the audience. They needed a marching band to cross the stage in Act II of “La bohème,” and I was recruited to join. At first, like most teenagers, I found the whole thing a bit silly. But then I began to really watch the rehearsals. The thrilling music, intricate staging, the passion of the singers who threw themselves into every phrase, and the feeling of community that arose as every element joined together—I was hooked.

Before long, I was more than a band kid. I was running errands, often fetching coffee for Music Director Chuck Schneider and the principals in the cast, while quietly observing every detail. In many ways, I was Glimmerglass’ first apprentice, though certainly not the last. Today, the festival trains an average 55 apprentices each season.

By the next summer, I was singing in the chorus of “La traviata.” (Ironically, I would later perform Germont at the Met.) At first, I thought I would only do one production, but I joined the chorus of “Cavalleria rusticana” and stayed the rest of the summer. And then I came back for the next 12 summers, taking on small roles here and there, though never anything big. I didn’t fully grasp it at the time, but The Glimmerglass Festival was a turning point in my life.

In 1989, I joined the Metropolitan Opera’s Young Artist Program. At 28, I was older than most, but that allowed me to step into productions right away. By my second year, I was singing Schaunard in “La bohème” with Plácido Domingo and Mirella Freni. That same year, Glimmerglass invited me back to sing Marcello, a role that helped launch my professional career. Today, the festival continues to launch careers through its Resident Artist program, which trains nearly 50 artists annually and has served more than 550 artists in the last two decades.

For 50 years, Glimmerglass has inspired audiences, strengthened our theatrical community and nurtured young artists, no matter how humble their beginnings. That’s why I’m championing the organization and the movement to support the future of The Glimmerglass Festival, its artists, and the art form we all love. I’m amazed by the tremendous generosity of our Cooperstown and greater opera community already, and hope you’ll join me in supporting this vital institution in the years ahead, a place where dreams can sing.

Dwayne Croft, winner of the 1996 Richard Tucker Foundation Award, has earned international acclaim as one of America’s leading baritones. A favorite at the Metropolitan Opera, he has sung more than 600 performances in 30 roles, including title roles in “Billy Budd,” “Don Giovanni” and “Eugene Onegin.” Croft is from Cooperstown.