From a Mentor’s Perspective

by Darrell Babidge, chair of the voice faculty at The Juilliard School

Rachel Willis-Sørensen sings at Carnegie Hall in April, 2024. She is accompanied by Tamar Sanikidze. Photo: Rebecca Reed, 2024.

Well, the Center for Latter-day Saint Arts just pulled off another spectacular week of events, featuring Rachel Willis-Sorensen’s Carnegie Hall debut. Anybody there will vouch for the special music making that happened in that historic hall. Although Rachel has been my student for 17 years, and she has performed at all the major opera houses throughout the world and recorded albums for Sony, her Carnegie Hall debut was a wonderful culmination of her amazing hard work and artistry. This was initiated through the Center of LDS Arts.

I have the highest admiration for the Center for Latter-day Saint Arts, and as an audience member, performer and donor I continue to be amazed at the events that expand my artistic senses. I was part of the process in choosing the composer for the cycle that Rachel was to perform at Carnegie Hall, and I was astounded at the high level (and number) of composers we were able to choose from. The LDS artistic scene is alive and thriving. The panel ultimately chose Andrew Lloyd's magnificent composition prowess, and to hear the culmination of composer and singer bringing 'Amaranthine' to its final 'unveiling' was special indeed.

Rachel and I also gave a master class the day before the recital, and the synergy and energy of our work together was productive, enjoyable and at times, hilarious. You should have been there!

Darrell Babidge and Rachel Willis-Sørensen help mentor the next generation of operatic talent from BYU and the University of Texas San Antonio.

I have no doubt that the Center and its promotion of classical voice, with this recent event being a highlight, will be talked about for many years to come. There is this false notion that opera and recitals of classical voice are a dying art, but this event at Carnegie Hall as well as other high-level productions at opera houses and recitals throughout the world are alive and kicking. In fact, newer works are getting more attention than ever before.