Bertha Melnik
Vocal Coach

Pianist Bertha Melnik presented a Town Hall recital after her Juilliard graduation in 1941—and promptly decided she preferred making music with other people to playing alone. She was a member of the Philharmonic Piano Quartet from 1947 to 1952; accompanied artists from José Greco to Bernard Greenhouse; and served as conductor and pianist for summer stock, on Broadway, and at the Village Gate. She joined the faculty in 1958.

Bertha Melnik, from a series of photos c. the 1960s.

When did you first know you wanted to be a musician?
I always wanted to be a musician. My father played the trumpet. His father and his oldest brother played the violin. His sister had a fantastic coloratura voice. His grandfather, my great-grandfather, played the bugle in the Crimean War when he was 16 years old.

Who was the teacher or mentor who most inspired you when you were growing up?
My piano teacher in Hartford, Conn., when I was 11 or 12, was R. Augustus Lawson. He was part black and part American Indian, and he was the sweetest guy and a fabulous musician. Every Friday, we would all come to his studio and play for one another and talk. I stayed with him until he decided I should try out for Juilliard. When I got here, I wanted Mr. Hutcheson, but he couldn't take any more students, so they gave me Mr. Siloti. Bingo! I got to adore that man, to worship him. He was one of the last students of Franz Liszt, you know, so there was plenty to learn from him.

What was the first recording that you ever bought?
It was so long ago, I really don't remember. But I'm pretty sure it must have been a piano recording of some kind, like Horowitz. I can't think of anything else I would even have thought of getting.

What are your non-musical interests or hobbies?
My friends. I don't know what else, because I've been so busy being a musician that I haven't had time for hobbies... except reading, going places, and seeing new things, new places. Life in general is my hobby!

What would people be surprised to know about you?
People would be surprised to know that I speak and write fluent Yiddish.

What's the most satisfying aspect of teaching for you?
A student who wants to learn, who says, "Do you mind if I do that again? I want to make sure it's right." Oh! Good Lord, then you know that they really want to know what the whole thing is about. That's why I'm sorry I don't teach more; it would be even better. I love it when I see things improve, and so do my students. One boy called me up after he'd been working with me for almost two years, and he said, "I've had an epiphany! I know exactly what you mean, and it sounds better."

The most frustrating?
When a student doesn't care, and only wants to show you they have a loud voice. I've had very few of that kind, but they're awful when I get them. A few of them only want to do things one way and not try anything else, because they've already been told one thing by another coach... and they don't want to come back. I ask you, how many singers are there at the Met who will only do things one way?

What "words of wisdom" can you offer young people entering the field today?
If a student is having difficulties, I try to have them see the brighter side: look at all the things you can do! Just keep working, I tell them. Don't stop, and don't let anybody tell you you're doing the wrong thing—because you know what you're doing. Just keep trying to get better all the time, because you can. And don't try to do everything all at once. Don't try to become a great singer when you're 18, because you're too young. So wait, wait, wait… don't push too hard.