The Art of Collaboration: Rebecca Wyffels and Jeff Dahl

By Eliza Lewis-O’Connor

The choral art is deeply collaborative by nature, and the same can be said of the legacies and careers of Rebecca Wyffels and Jeff Dahl. Deep mutual respect and shared values brought Rebecca and Jeff together in the choral classroom at Wayzata High School where they conducted choirs together for over 25 years.

I student taught with Rebecca and Jeff in the fall of 2012, and ever since I’ve lovingly shared that I’m a proud graduate of the “Wyffels-Dahl School of Choral Conducting.” During their time at Wayzata High School, Rebecca and Jeff not only impacted the lives of countless students, but they also opened their classroom to many student teachers. Called to lives of mentorship and inspiring others, these two master educators shared a vision for what is possible in the high school choral classroom. The students in Rebecca and Jeff’s choirs had an experience that was as rigorous and erudite as it was meaningful and joyful. My memories from that time are replayed often, and at the beginning of each new school year I tell the students at WHS that I developed my deepest choral values right here in the Wayzata choir room. Years later, I still call Rebecca and Jeff often to ask for their musical and personal wisdom, and I feel so grateful that even after retirement they’re still sharing their brilliance and kind words. 

One of the many values that Rebecca and Jeff share is a love for deep, impactful conversations. Below you’ll find some reflections on their partnership, teaching philosophies, and what it takes to work closely with another director over decades in the choral classroom. I hope you enjoy reading about the dual legacy of Rebecca Wyffels and Jeff Dahl.

Please share some of your musical experiences during your early years.

Jeff: Stan Kindzerski was my director at Rosseau HS. His literature choices included Bach, Brahms, Faure, Schumann, Buxtehude, Schutz, Passereau, and Palestrina, which served as a foundation for selecting repertoire for ensembles throughout my career. 

Rebecca: Bryan Johnson was my director at Aitkin HS. We, too, performed great literature: 8-part divisi Brahms, the entire Vivaldi Gloria with orchestra and harpsichord, the latest pop choral arrangements, and fantastic music theater productions. BJ was also my piano teacher and taught me not only Beethoven, Bach, and Brahms, but also how to play musical theater scores and accompany the choir. 

Share about your journey to becoming a choir director. Did you always want to direct choirs?

Jeff: Band was my first significant musical experience. I remember asking friends if I could take their instrument home for the weekend, and I would learn to play scales on several different instruments. I bought a used piano as a sophomore and taught myself how to play. That same year I auditioned for the high school choir and started studying voice with Gladys Rice. All-State Choir and All-State Lutheran Choir were significant experiences in my life.

Rebecca: My mom was a wonderful church choir director, pianist, singer, and flutist. She brought me, as a 10th grade student, with her to rehearsals for community Messiah sings. That music stays with me for life. These inspirations at home and great choral experiences I had in Aitkin High School Choir and All-State Lutheran Choir with Mark Aamot were very inspiring.

Please share some memories from your first several years as a choral director.

Rebecca: I taught in Park Rapids and was blessed with fantastic students. From there, I moved to Wayzata, where the program consisted of one choir (of 50 SA and 4 TB singers). Choosing literature was really challenging! But eventually, with constant recruiting, the balance improved and choirs were added. I added five small groups (one each day after school), to build skills. Being the vocal director for the music theater productions was another great opportunity to build relationships with students. I learned so much about the art of teaching from Roger Mahn, the artistic director of the music theater productions. The Concert Choir began attending MSHSL Large Group Contest and the Wayzata students became aware of the fine choirs from Armstrong and Edina surrounding them.

Jeff: My first seven years in Wayzata were at West Junior High. Even though Rebecca and I were at different schools in the district, our partnership began to develop. When I started at West there weren’t any boys singing in 8th and 9th grade. The 7th grade students were required to take a music class. By my third year an auditioned 9th grade honor choir existed, and the program included an 8th grade TB choir. In my fourth year the honor choir performed at the fall ACDA convention, and the next year they sang at MMEA. We started a joint festival with the high school choir, and I would bring my students over to share a joint rehearsal at the high school. I developed a retreat program with my honor choir before the school year started in the fall, and I would enlist the help of singers from the high school to lead sectional work as well as to assist in team building activities. The retreat would end with volleyball matches between sections and a shared meal. The junior high program included an overnight trip to Duluth each spring where the students worked with Stan Wold at the University of Duluth, and we would sing a couple of exchange concerts at area schools.

How did ACDA inspire you early in your career?

Rebecca: Bob Peterson (Edina HS) and Dick Edstrom (Armstrong HS) were so invested in me when I came to Wayzata. Their neighboring choral programs were outstanding. These accomplished educators became friends and poured energy into helping me grow. 

I was so eager to learn from respected ACDA colleagues and sought them out. I called Bruce Becker (Apple Valley), Steve Boehlke (Rosemount), Bruce Phelps (Anoka), and Mike Smith (Brainerd) to ask for advice and they were always willing to offer their thoughts. 

Stan Wold (UMD) invited me to present at the ACDA Conference during my second year of teaching, on ideas for young teachers. At Dialogue in 1985, I was invited to be one of the conductors of the group of directors and Ken Jennings came to mentor. Thinking back, I had no idea what I had agreed to, but the experienced directors were so welcoming!

Jeff: Summer Dialogue in my early years was the greatest resource for repertoire. I gratefully remember reading sessions presented by Helen Pederson and Ann Wobig. I think I bought and programmed every piece they recommended. I met Dennis Jewett at Dialogue who at the time was teaching at Plymouth Middle School, and together we started a Junior High Choir Festival that included our two schools and Stillwater Junior high with Sue Gilsdorf.

What are some of the highlights of your 37-year teaching careers?

Rebecca and Jeff:

•Hosting Conspirare’s performance of Considering Matthew Shepard, during their National tour in 2018, the 20th anniversary of Matthew Shepard’s death. Our auditorium was filled with choir students from various MN high schools who joined Conspirare in the final chorale, “All of Us.” The Conspirare singers wept in response to the high school singers joining in the final chorale. It was a moment that will stay with us forever. 

•The performing arts program at Wayzata is one of bright, collaborative, thoughtful, and loving human beings. Our departmental work together is certainly amongst the things we most miss when we reflect on our careers. The trust of our principals at Wayzata allowed us to attract and hire exceptional colleagues to work alongside us. Don Krubsack (band) and Mark Gitch (orchestra) are examples of such fine collaborative artists. Mary Fadden served as our staff accompanist, and her artistry, commitment, and relationships with students was an important part of our joy and shared time in the Wayzata School District.

•Wayzata HS Concert Choir was one of two high school choirs invited to perform a solo set in Magnum Chorum’s 20th Anniversary Concert, conducted by Chris Aspaas. It was so powerful for our high school students to imagine themselves singing as adults. 

•Wayzata HS Concert Choir was invited to celebrate Minnesota Youth Symphony’s 35th Anniversary, performing choral/orchestral works at Orchestra Hall. 

•Invitations to perform as a select solo choir at the St. Olaf Choral Festival with Anton Armstrong, the Dorian Festival with Weston Noble and Craig Arnold, The Concordia High School Choral Festival with René Clausen.

•Invitations to share concerts with Drake University (Aimee Beckmann-Collier), Iowa State University (Jim Rodde), and Wartburg College (Lee Nelson).

•Recording sessions for Santa Barbara Music Publishing, of works composed or arranged by Bob Sieving. Especially memorable pieces were “Still Wie die Nacht” (SATB) and “Red is the Rose” (TTBB) “Van gli effluvî de le rose” (SA) and commissioning “The Monotone of the Rain”. (SATB choir and string orchestra).

Still wie die Nacht

Monotone of the Rain

•Partnering with Eastview HS Concert Choir to premiere the Raymond Block Commission, Joan Szymko’s “All Works of Love,” for the ACDA North Central Regional Conference in 1998.

•Being section leaders for many years for MMEA-MN All-State Choirs and learning so much from nationally renowned conductors.

•Working with the ACDA leadership team to create the Tribute Concert for ACDA’s 50th Anniversary, honoring mentors who shaped us. 

•Being entrusted to mentor brilliant student teachers, amongst them; Maggie Burk, Katie Burk, Ben Henschel, Eliza Lewis-O’Connor, and Jenn Dusek was a gift. 

Jeff: Partnering with Paula Holmberg to start the ACDA 9/10 Honor Choir to fill a need for grades that were not served by Honor or All-State Choirs. 

Rebecca: Creating the Alice T. Larsen Scholarship for women conductors to honor her pioneering work. She conducted All-State Choirs in five states in the 70’s and 80’s, before women were even thought of in that role. Marie Spar Dymit, Kristi Gerry, Jan Gilberston, Teri Larson, Diana Leland, Lisa Lozito, Dione Peterson and Kari Werdahl worked with ACDA Executive Director Bruce Becker to create a framework for endowing a scholarship based upon college models. 

Which choirs and choral conductors inspired you early in your career?

Jeff: Stan Carlson at Staples HS created the approach to TB choirs I emulated. While teaching in the Motley/Staples schools with Stan I was able to experience a team approach to the choral classroom. We team taught our middle school and high school SA and TB choirs. He taught pieces on solfege without playing piano parts before we transitioned to text.

Mike Smith led a legendary program at Brainerd HS where I student taught. He was a master teacher of vocal technique and yet captured a unified whole that was the epitome of beautiful choral singing. At the same time, Mike exuded incomparable joy and related to every student with dignity and profound human understanding. 

Paul Brandvik, director of the Bemidji State Choir and Chamber Singers was a profound musician and conductor. His attention to intonation taught me how to really listen. I remember our choir made sweatshirts that said “spread the 5th”. We rehearsed taking pitch from a tuning fork and learning all music without a keyboard. 

Rebecca: Alice Larsen, my conductor and voice teacher at St. Olaf College, poured belief into me. She was an incredible musician and one of the only women conducting on the college level at that time. She invited me to assistant conduct one of her choirs. It was an incredible gift to have her observe me rehearse her choir and offer feedback after each rehearsal. 

Jan Gilbertson, who was President of MMEA and led a fantastic program at Park HS Cottage Grove, mentored me during my student teaching. Seeing a strong woman leader who is a brilliant musician and gifted teacher was life-changing. 

Sonja Hagestuen, my mom, was a gifted, joy-filled conductor whose warmth and invitation created beautiful tone and community. People loved her and loved to sing for her. 

Each of these three strong women who carried warmth and joy while maintaining high standards influenced me beyond words. 

During your career, what changed and what remained the same concerning conducting and leading ensembles?

Jeff and Rebecca: The opportunity to team teach changed when we opened the 9-12 building. We both had success as individual teachers leading strong programs, but team teaching changed us deeply. We co-taught everything, feeding off one another in rehearsals, freely adding ideas. There was an organic, open give and take, a flow of energy and inspiration which changed each of us. 

What are some of your favorite composers or pieces that you would recommend to others?

Rebecca: “Sicut Cervus” (Palestrina), “Regina Coeli” (Mozart), “Sure on this Shining Night” (Lauridsen), “Os Justi” (Bruckner), “Ascendit Deus” (Jacob Handl/Gallus), “Gitanjali Chants” and “Requiem” (Craig Hella Johnson), and works by Elaine Hagenberg, Andrea Ramsey, Joan Szymko. People think polyphony is too hard for high school singers. I disagree. The line in each part creates independent musicians and is so satisfying to sing.

Jeff: “Os Justi” (Elenor Daley), “Lux Aeterna” (Z. Randall Stroope), “Down In the Valley” (George Mead), and “How Can I Keep from Singing?” (Brad Ellingboe) are some of my favorites. I am a fan of Laura Farnell and her pieces that are perfect for developing TB choirs.

1996 MMEA Performance Program featuring WHS Concert Choir, WHS Chamber Orchestra, and Wayzata West Jr. High Honor Choir

2009 MMEA Performance Program featuring WHS Concert Choir and WHS Chamber Orchestra

What advice or words of wisdom do you wish to share with young and emerging choral directors who are entering the field today?

Rebecca: If you are in a school where team teaching is not possible, invite your band or orchestra colleague to pop in to your rehearsal and offer some thoughts. Do the same for them. Seek out experienced conductors near you, go out for coffee and ask for their advice. Invite their choir to share an evening at your school that includes singing for one another and a meal. I did that throughout my career, and I relied on more experienced colleagues especially in my early years. It means that you know that you don’t have all the answers. Weston Noble loved to say “Trust grows in the garden of vulnerability.”

Jeff: Bring your authentic best self to the work because we teach who we are as well as our subject. You are responsible for creating the culture of your classroom. It is a paradox that discipline and structure equal the greatest freedom in the classroom.

Jeff and Rebecca: Neither of us looked around at what we didn’t have. We started with almost nothing in Wayzata. We slowly built the program and advocated with administrators in increments. We were always recruiting, always working on scheduling conflicts, always struggling to make the budget work. Those things never go away. 

How do you think working as a team changed your perspective in choral leadership both philosophically and in daily rehearsals?

Working together so closely with one another and our instrumental colleagues was richly rewarding. We celebrated moments in rehearsals. We did not keep looking to the next external goal, but found deep reward in the discoveries right in our midst.

You obviously had great teamwork as colleagues. Was that natural, or did you have to work at it?

It evolved naturally and was based upon deep mutual respect. There weren’t many models of team teaching for us to model ourselves after. Most involved an associate who led sectionals while the lead teacher led rehearsals. We chose the repertoire together for all of the choirs. We made audition decisions, selected the large multi-movement choral/orchestral work together, we advocated with administration and made scheduling decisions together. At the end of every day, we processed our rehearsals together and made plans for the next day.

If a conductor wanted to work in a “teamed” program, what mindsets, skills, or ideas would you suggest for them to be at their best and contribute to the lives of singers, the music department, and the community?

Be aware of one another’s strengths and don’t feel as though you need to be “all things” to all people. In rehearsal, model vulnerability, and ask for your colleague’s thoughts. Know that you don’t need to always be in control, but open to process, inspiration, and trying new ways of doing things. 

Trust that quality literature from all eras will transform the room, change students, and stay with them for life. “Less is more.” Choose challenging repertoire, but don’t program so many pieces that students are merely executing, but instead invite them to explore pieces deeply, find nuance, and create art. 

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About the Author

Eliza Lewis-O’Connor, originally from Fargo, ND teaches at Wayzata High School where she leads Concert Choir, Bel Canto, and Cantabile, and teaches AP Music Theory. She also leads the co-curricular choirs Chamber Singers and Vive Voce and serves as a support teacher in Cantori and Varsity Choir. Prior to her time in Wayzata, Eliza conducted choirs and vocal directed the 9-12 musicals in White Bear Lake. Choirs under her direction have consistently earned superior ratings at large group contests, and she is an active member of ACDA and MMEA. In 2022 she was honored with the ACDA-MN Outstanding Young Choral Director Award. Eliza earned her bachelor of music degree in Vocal Music Education from St. Olaf College and her master of music degree in Choral Conducting from Northern Arizona University. For the past eleven summers, Eliza has served as the vocal director for the Mainstage musicals at Trollwood Performing Arts School. When she is not conducting choirs or vocal directing musicals, Eliza enjoys laughing and singing with her husband, Isaac, and children, Freya and Anders!