by Brandon Mayberry and Carolyn Sielski

While many of us have social media to stay connected to the outside world, we shouldn’t forget that not everyone has that outlet during this rapidly changing landscape, where real life social distancing is the name of the game.  Senior citizens in assisted care facilities/nursing homes, or isolated at home without families to care for them, are most vulnerable to the effects of this extreme social isolation. While we attempt to protect this vulnerable age group from contracting this deadly virus, we shouldn’t lose sight of the emotional toll this isolation can take in the meantime. 

In the spirit of connection in all its many-splendored forms, allow me to introduce Met Chorus Alumna and current Met Opera Chorus Retiree Coordinator Carolyn Sielski.  Carolyn has been brilliantly facilitating that connection for the last 11 years among the 60 retired choristers. 

Here’s a look into Carolyn’s history as chorister at the Met, and the role she now plays as the Met Chorus Retiree Coordinator, in her own words.

     When I was hired in June 1986 by David Stivender, I had already been married 18 years and was busy raising 2 teenage daughters. I had taught public school music, was a member of the New York City Opera, had a church job, toured in 2 national opera company tours, and was playing violin in a semi-professional orchestra. 

   Life changed after that successful audition one afternoon, where David described every opera for which I would be responsible and have memorized for the first chorus rehearsal in August! I was presented with a huge stack of music from John Grande, the Met librarian. Then I was taken to the costume department for measurements. I could barely find my way around the corridors of the building!  The entire summer I spent collecting recordings, making tapes, and studying operas. Something that has always stayed with me was the musty smell of the old scores, browned with age and stained with coffee cup rings and pencil markings from choristers before me. I knew that I was in possession of sacred and historical treasures.

     Highlights of my 21 year career at the Met are numerous, but I’ll enjoy mentioning a few.  

     My first solo as the Page in Rigoletto was a thrill for me, anticipating the beat while singing in the upstage tower. I remember my beautiful costume with the previous pages’ name label sewn on the inside of the costume. Although I had my own dressing room in the principal artists area, nobody would dress me because I was just a chorister! My husband happily dressed me that night. 

     Another highlight was being selected to sing one of the nuns in Dialogues of the Carmelites!  Being part of that history inspired my husband and I travel to the Cimetiere de Picpus in Paris and retrace the history and remains of the nuns.

    It was a highlight to work with the great artists of the Golden era: Domingo, Pavarotti, Milnes, Peters, and Sutherland, to name a few. Also, it was a joy to perform in Zeffirelli’s glamorous productions of La Bohème, Carmen, Turandot , Tosca, Cav/Pag, Otello, Don Giovanni, La Traviata, and Falstaff.  (Editor’s Note: Only Zefferelli’s Turandot and La Bohème remain in the current repertoire at the Met.)  They all contained beautiful and realistic sets, with costumes Zeffirelli designed himself.  He once took the time to give each chorister a personalized, autographed sketch of an act of one of his operas.  (I have mine framed on the wall in my living room.)

     When I retired in 2007 after 21 years, there was a transition for me.  It’s that ego thing that’s created when you realize that you had the best chorus job anywhere, but it’s not who you are anymore.  But I do love being retired now, traveling to Europe with my husband and trying to stay connected with old friends, other Met retirees and my family. I don’t miss the daily commute by car from New Jersey into New York City. But I’m busy on my own terms.

   As retiree coordinator, I want to keep the retiree traditions alive, which were originated by [former Met choristers] Elinor Harper and Elyssa Lindner. There has always been a party given every few years for the newest batch of retirees, sponsored by the regular chorus. The party is usually a first-class send-off at the Met with speeches, food, plaques, special souvenir photo albums, and an “In Memorium” recognizing retired choristers who have passed on. It’s a reunion event that all the retirees look forward to.    

      The Retiree Coordinator’s responsibilities have increased since I have taken over.  I create an updated retiree directory each year with emails, addresses and phone numbers, and a newsletter which highlights retiree news. The retirees give a voluntary donation which covers expenses for the directory and postage. When a retiree dies, we use some of the funds to send flowers to the funeral or donate to a charity or organization in their memory. This way, we always remember our Met family.