After the 2026 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 soprano Alexandra Henderson.
Can you tell us about your journey leading up to this point?
My musical journey has been one of self-discovery and surprises! I grew up in a small town in upstate New York and didn’t see my first opera until the age of sixteen. I always remember singing, though, and was encouraged by my (nonmusical) parents to take voice lessons. Since that experience, my musical path has felt wonderfully inescapable. In my pursuit of a life as a young artist, I’ve lived in places like Houston, Dallas, Boston and now, New York City! If you had told me when I was younger that my dreams of being a “mermaid-marine-biologist” would be swapped for a career as a professional opera singer, it would’ve been a serious shock.
What drew you to the Fellowship of the Song?
I was drawn to apply for the Fellowship because of how unique the opportunity is. I fell in love with art song in the Song Lab at the New England Conservatory and was so thrilled to find a professional opportunity like CSI where I’d have an opportunity to focus solely on art song. It almost felt like a match made in heaven before I’d even arrived, and I’m happy to report that it exceeded all expectations.
What excites you or interests you about art song?
The medium of art song most excites me because of the opportunity to be direct and vulnerable with an audience. It’s thrilling to have a blank canvas to adorn with my own artistic vision. It’s also a kind of exposure that is rare as an operatic performer; to step onto a stage as myself, sharing my own feelings and interpretation. The confidence I’ve found through art song performance has been invaluable along my artistic journey.
What aspects were most enjoyable to you about the Fellowship, and how was this a unique experience?
The key feature of the CSI experience as an artist is the freedom to create and collaborate. It’s such a rarity in our everyday lives as working performers to devote an entire day to music, and my experience with CSI was like an artistic oasis. Every day was spent steeped in music from the moment I woke up to the moment I studied my scores before going to bed. It was so incredibly energizing to be surrounded by colleagues who were similarly hungry for artistic discovery.
How have you been since joining us this past summer as a Fellow?
Following my CSI experience, I was able to move into my residency with the Tanglewood Music Festival with a renewed sense of inspiration. My CSI experience came at a crucial time in my artistic development, so it was wonderful to have a place to workshop new, challenging repertoire. I constantly found myself referring to the gems from different rehearsals and masterclasses as I took on the challenge of Tanglewood.
Can you tell us how your time as a Fellow has changed the way you approach your artistry and music? Any tips or tricks you pocketed?
I think back to my time as a CSI fellow as a wonderful whirlwind experience. I tried desperately to collect every valuable insight from our phenomenal mentors and to implement as much as I could going forward. One memorable thing that stuck with me came from the incomparable Kayo Iwama during our work together in rehearsals. In short, she encouraged me to streamline my approach and let the music speak for itself; to remove any sort of performance and simply “be”. This has been a revelation that I’ve continued to live with following the Fellowship and will likely be exploring for the rest of my career.
Is there anything else you’d like to share?
I am filled with such fondness for my CSI experience. This fellowship was crafted with the artists’ experience in mind, and the wealth of knowledge and joy far exceeded the brief week I had in Cincinnati!
