Prep Alumni Spotlight: Sarah Cooper ’05 Prep
Sarah Joyce Cooper has received praise for her “meltingly beautiful” (Opera News) singing and “passionate power” (Parterre Box). Highlights for the 2024-25 season include her debut with Seattle Opera as Minnie Tate in the world premiere of Tazewell Thompson’s Jubilee; a return to Carnegie Hall as the soprano soloist in Mozart’s Requiem, Mozart’s Vesperae solennes de confessore, and Vivaldi’s Gloria with the New England Symphonic Ensemble; and the title role in American Jezebel, a world premiere opera commissioned by Harvard University that tells the story of theologian, midwife, scholar, and co-founder of Rhode Island, Anne Hutchinson.
Recent performances include soloist appearances at Carnegie Hall in Poulenc’s Gloria and John Rutter’s Magnificat; the roles of Eva and Gabriel in Haydn’s The Creation with the MIT Concert Choir and Handel and Haydn Society Chamber Choir; her debut with the Ridgefield Symphony Orchestra in Strauss’s Vier letzte Lieder; and her debut with the Bar Harbor Festival Orchestra in Mozart’s Exsultate, jubilate. Operatic credits include Adina in L’Elisir d’amore (Geneva Light Opera), Juliette in Roméo et Juliette (Opera Western Reserve), Clorinda in La Cenerentola (Syracuse Opera), Violetta in La Traviata (MassOpera) and La Charmeuse in Thaïs (Maryland Lyric Opera).
Ms. Cooper earned her Bachelor of Arts degree in French at Princeton University and her Master of Music degree in Vocal Performance and Pedagogy at Westminster Choir College. In addition to performing, Ms. Cooper serves as Executive Assistant for Help!ComeHome!, a nonprofit dedicated to meeting the needs of under-served communities throughout the US in Jesus’ Name.
What does NEC mean to you?
Some of the most significant formative musical experiences in my life took place at NEC. I remember clearly the hustle and bustle of rushing out the door Saturday mornings with my cello for rehearsal with the Preparatory String Orchestra. I also remember the frenetic buzz in the hallways during exam week as a pianist in Clara Slater’s studio, feeling at once in awe of and intimidated by the fragments of my colleagues’ performances I heard through the door. Though I did not remain in the preparatory school, I found myself often returning to NEC to support my brother and friends at their recitals and orchestral performances. When I finally found my way to singing, I performed opera for the first time in the NEC summer opera scenes program. It was there that I was first truly introduced to and began to fall in love with the art form. So much of my musical upbringing is rooted indirectly or otherwise in NEC - I am truly blessed to be able to call it a musical home of sorts. Looking back, it’s hard to believe that such a wealth of musical riches was only minutes from where I lived growing up!
Can you share an experience you’ve had in your career that has felt the most rewarding?
What we do as performers is incredibly special - and is, in my mind, an act of worship. I am never 100% satisfied, but the performances where I’ve been happiest have been those where I could let go of the pursuit of perfection and fully give myself over to the rapture and joy of worship. Even if I’m singing something tragic, some part of me is always connected to a place of deep joy. It is most rewarding when the audience tells me afterward that they too could feel the joy from where I sing.
Share a story about one of your favorite faculty or studio instructors.
I have only worked with Patricia Weinmann and Greg Smucker in a professional capacity, but I know that for years they were crucial to the NEC Opera Department. (How fortunate the school was to have them!) I attribute so much of my development as a young artist to their belief in my talent. They trusted me with roles and opportunities even when my resumé could not speak for itself and I was still very green. I remember being in a dress rehearsal for their production of Don Giovanni, and I, as Zerlina, had to grab a gun and point it at the villain. Well I managed to grab the gun alright, but I had somehow grabbed the barrel by mistake and was actually pointing the handle at him instead. I didn’t realize it until Trish managed to grab my attention from offstage and the scene was basically over… Needless to say, we had our share of laughs that day! That’s actually a great example of what made Trish and Greg so special. They fostered and cultivated brilliance but they never took themselves too seriously and were always exceptionally kind.
Do you have any advice for young professionals, musicians, and current NEC students?
It can be easy at times to lose sight of why we became musicians in the first place. Do everything you can to hold onto the sense of childlike awe and wonder that first inspired you to pick up an instrument or start singing. Go sing or play simply for pure enjoyment from time to time - not just to learn music or “practice.” Try not to see colleagues as competition, but be grateful that they too have something precious to communicate to the world and think about how you can genuinely support them. Be inspired by each other. We need all of our gifts now more than ever.
Learn More About Sarah:
Current Job: Professional Soprano
Program: NEC Preparatory School
Class Year: 2005
Instrument: Voice, Cello
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