Catching Up with a 2025 Fellow: Eric Laine

After the 2025 Fellowship of the Song, we thought we’d check in with a few of the artists who joined us in Cincinnati for a week of inspirational study, coaching, and performance. Here’s our conversation with tenor Eric Laine.

Can you tell us about your journey leading up to this point?

Before discovering my love for singing, I had a former life as a classical saxophonist! I graduated from the University of Houston Moores School of Music with a Bachelor of Music in Instrumental Music Education. Although I loved to sing, it took me a bit longer than my peers to claim my identity as a singer. After my undergraduate studies, I spent a couple years teaching middle school choir, taking more voice lessons, and singing in the Houston Grand Opera Chorus. I then moved to Fort Worth, TX to pursue my Master of Music in Vocal Performance at the University of North Texas, where I sang in several operas and also performed often with the baroque orchestra. Despite the COVID-19 pandemic in 2020, I was able to begin my doctoral studies back at UH, this time as a vocal performance and pedagogy major. During those years, I balanced a teaching fellowship, coursework, many opera productions, recitals, and adjunct teaching positions, among other things. All these years of hard work led me to a Visiting Assistant Professor of Voice position at The University of North Carolina at Greensboro last year, and I am now Assistant Professor of Voice at Texas Christian University.

I have been fortunate to perform in opera and concert often with companies such as the Hungarian State Opera, Orchestra of New Spain, Harmonia Stellarum Houston, Opera Neo, Symphony of the Hills, American Baroque Opera Co., Raleigh Camerata, Opera in the Heights, Mercury Chamber Orchestra, and Tyler Civic Chorale, among others. As I have progressed in my career, however, I have found that my biggest passion is programming and performing song recitals. One of my most recent endeavors has been promoting the art song repertoire of Puerto Rican composer, Roberto Sierra. 

What drew you to apply for the Fellowship?

I had seen a friend and colleague of mine, Janani Sridhar, posting updates from her enriching experience at the inaugural Fellowship of the Song in 2024. It’s rare to find development opportunities outside of the typical confines of “young/emerging artist,” so I knew this was something I needed to put on my radar. It was clear to me that this fellowship was designed by people who truly believe in lifelong learning, and I wasn’t wrong!

Which parts of the program were most impactful, and why?

The most impactful part of the program was something I never would have expected. On the day of the first Fellows’ Concert, I woke up with my body feeling off, and my voice was not cooperating. I was nervous to perform that evening, fairly certain that I would not have access to everything that Britten’s The Poet’s Echorequires vocally. Nonetheless, I had learned tons from Margo in coachings and done great work with my collaborative pianist, Matthew, in putting the cycle together, so I was determined to get on the stage and trust my technique and artistry. Although I had to make some quick and creative pitch adjustments in the moment to accommodate for my loss of range, that was one of the most present, storytelling-focused performances I have ever given.

So what did I learn? We as singers are far more than just our voices. It’s easy to get stuck on the idea of things needing to be note-perfect and consistently resonant throughout the range, all while forgetting that we are supposed to be communicating something. That night, I leaned into showing my “movie” and “doing more by doing less” (thank you, Margo!) Many audience members told me afterwards that they were moved by the clear trajectory of the music and poetry. That’s what matters!

“Studying art songs does not need to stop after you have completed your degree recitals and now are working toward an opera career. Programs like The Fellowship of the Song are looking for people who clearly view song performance as an integral, perpetual part of their artistry.”

How has your artistry/perspective grown or shifted since being a Fellow?

I’m honestly even more curious to venture further outside both the Western canon and the typical classical singing languages because of the guest concerts. There truly are no rules; audiences love variety and meaningful programming! Gone are the days of stuffy recitals, and CSI is leading that charge. I also feel empowered to start commissioning new works after our conversations with the composers in residence and after seeing Jennifer Lien’s performance of her touring recital, mOthertongue: Lived Experience in Asian America.

What have you been up to since the Fellowship?

I recently began a new position as Assistant Professor of Voice at TCU. While my main focus this year is teaching and adjusting to a new institution, I have several creative projects in the pipeline. Some of my repertoire from The Fellowship of the Song will be returning for a faculty recital in the spring (Into the Mind of the Poet), and I can’t wait to put that program together! Additionally, I have recitals and research presentations planned throughout the United States and Canada and am looking forward to forging new collaborations. 

What advice would you give to future applicants or those considering this kind of program?

Start programming outside-the-box recitals and finding your niche in the world of vocal chamber music. Although all ten of us had slightly different career goals, it was immediately evident that we all were continually thinking of ways to innovate the art song genre and had engaged in many interesting projects prior to the Fellowship. Studying art songs does not need to stop after you have completed your degree recitals and now are working toward an opera career. Programs like The Fellowship of the Song are looking for people who clearly view song performance as an integral, perpetual part of their artistry. 

Is there anything else you’d like to share?

Thank you to Sam, Natasha, Margo, and everyone else who was involved in making the 2025 Fellowship of the Song such a transformative week! From the impeccable organization and fabulous accommodations to the continual encouragement and mentorship, I couldn’t be more grateful.