In terms of talent, glamour and wide appeal, few opera singers today rank as high as mezzo-soprano Denyce Graves. No wonder there's quite a buzz at the Peabody Conservatory, where Graves will join the voice faculty in the fall.

People are still talking about a master class that Graves gave at the conservatory last September.

"She didn't know she was auditioning," said Phyllis Bryn-Julson, the distinguished soprano who chairs the voice department. "It was a phenomenal day for the students. They were so filled with elation. There was something from the heart that Denyce gave them. We were all smitten."

Graves found the experience just as positive.

"I had a wonderful time and heard wonderful students," she said. "I am asked all the time to teach. Peabody has been chasing me down that street for years. Young singers want to sing through their arias for me, ask for advice. But there has been no room in the calendar for that sort of thing."

Fortuitously, Graves has been cutting back a bit on her engagements in recent years, especially opera productions, which typically take up several weeks.

"I want to be available for my daughter as much as possible," said Graves, who is 48. "She's 7 now. She needs more and more time from me. I told my agency I would like to concentrate on recitals and concerts and just do one or two operas a year. I am fortunate to be able to be discriminating and not have to accept every offer."

An offer from Peabody, after the success of that master class, turned out to be tempting. In addition to having a few more free days on her schedule, there was the attraction of Baltimore itself.

The Washington, D.C.-born Graves lives in Bethesda, which can be inconvenient for her husband, Dr. Robert Montgomery, the richly mustachioed professor of surgery at Johns Hopkins, where he also heads the Division of Transplantation and is director of the Johns Hopkins Comprehensive Transplant Center.

"He has been complaining about the commute," Graves said, "and we've been thinking about moving. It is inevitable we will be here. My daughter has already been accepted at Bryn Mawr."

The mezzo's Peabody job will not be full-time gig, and she will only take on a handful of students initially. But her presence will likely be felt in a big way.

Having one of the world's most celebrated interpreters of the sensual protagonists in Bizet's "Carmen" and Saint-Saens' "Samson et Dalila" on campus, however briefly each semester, cannot help but give Peabody a lift. This is one of the highest-profile additions to the conservatory's faculty in years.

Bryn-Julson is among the many admirers of Graves' work onstage, especially as Carmen.

"Anybody who can pick up her skirt with her teeth while her hands are tied behind her back is on my front burner," Bryn-Julson said with a laugh, referring to a scene that caused a sensation when the strikingly agile Graves made her 1995 debut at the Metropolitan Opera.

Observing the mezzo in action with students during the master class added to Bryn-Julson's admiration.

"She got the technique she wanted from them without talking about the larynx and all of that," Bryn-Julson said. "She was after the character of it, the emotional part."

That's how it felt to one of the participants in the master class, too.

"She was so driven by a passion for the music," said Kristina Lewis, a mezzo working on her graduate performance diploma at the conservatory. "I felt she was really trying to push my singing to the next level. I haven't encountered that level of energy in a master class before."

After that September event, discussions quickly began with Graves about a follow-up.

"We thought we could only get her to agree to more master classes," said Mellasenah Morris, dean of the conservatory. "Then we found out she was interested in having a small studio. Lo and behold, she was with us during audition week [in February], listening to [prospective] students. When they walked in and saw her, that was an oh-my-gosh moment."