Even with the abundance of student talent, LHO sometimes hires professional singers to play the main roles in its operas, particularly for the most challenging roles. DHO, however, relies solely on undergraduate talent.

Not all students on the Harvard opera scene today came to Harvard whistling Wagner. Charles I. Miller ’08 had high school experience mostly as a piano player, actor, and musical-theater singer before landing the job of co-director for Princess Ida.

Miller noticed the significant opera presence on campus soon after coming here in the fall. “I’ve learned what an incredibly large community it is,” he says. “It’s amazing the number of students who are into opera and classical music at Harvard.”

Kathryn D. Greenhalgh ’05, who also says that she “wasn’t particularly involved in opera at all before Harvard,” has been involved with DHO since she was a freshman, and directed Candide this year.

Despite opera’s growing visibility on campus, however, Greenhalgh says that producing a college opera poses numerous challenges. For one, procuring the often hefty funds, she says, can be difficult.

According to Megan, in the past year the OFA has granted opera societies about $2,500 of the $30,000 it gives annually to Harvard arts programs. But he adds that “the singular most important contribution we make is asking the tech staff to help them put up productions in the dining halls.”

Performing in House dining halls, whose acoustics are more suited for student chatter than lengthy arias, presents a considerable challenge, according to students. Moreover, Eggleston says that performing in the dining halls inevitably disrupts House life.

“It’s a big pain for everybody. People are relieved when the opera is gone,” she says.

But Greenhalgh says that performing in the Houses also makes the operas more special. “It’s tradition,” she says. “Plus, out of necessity comes creativity.”

Megan concurs. “I really love the distinct characteristics associated with these Houses,” he says. “When I think ‘Dunster,’ I think opera. The fact that there are technical obstacles to overcome is part of the charm and excitement.”

“I love the message it sends: art can happen anywhere,” Megan adds. “Opera is regarded as elitist in some places, but this is saying, no, opera is a people’s art.”