<p>From my current experience of listening to over 500 singers a year audition, knowing the background bios of singers I am paying to hear, and hearing what is happening from studios around the country (and world) of all sizes and levels of prestige, what matters most is the teacher (technical work and guidance), performance experience (in-house, regionally, summer programs), and the standards to which the students at the school are held in terms of language diction and comprehension, musicianship, stage craft skills, musical style (in no particular order). Singers have to be able to get agents to work in opera in this country, but that can come out of success at summer programs and in competitions. No agents are beating down the doors of any school wanting to sign up another singer. I have heard singers from just about every first and second tier school in the country (quite a few others, too), and while there are some schools I would advise against strongly (some well-known and discussed as a reach on this forum), there are students of excellent and iffy quality from almost all of them. </p>
<p>As the parent of a string player, I learned rapidly that it is totally different for them, where what matters is the level of other players in the cohort. If a string player cannot get into one of the premiere institutions (including exclusive summer programs), aspirations should be adjusted. There are string players who do their lower level college years in the exclusive conservatories, then go to excellent teachers in the state universities to complete their educations (on a free ride), and they do just fine professionally. </p>
<p>The debt load of conservatories is unnecessary for singers, at any level. In the past I would have said that Julliard and Curtis might be exceptions, but even those schools do not guarantee anything. I have known singers who went to both, heard their progress, and where they are now. None of them are better off from what I have heard and know of their careers. Sure, they had the fun and enrichment of NYC culture and life, but it did not advantage them personally and professionally. They know a lot of people, but that does not guarantee anything either. A few teachers can make a call and get an audition for a singer, but it does not guarantee the gig. What gets the gig is how they sing and what they have done. </p>
<p>My strongly held (and expressed) opinion about avoiding debt is both professional and personal. Life is too long to be burdened with few options.</p>