Practicality and economic pressure have led to this routine, and there is a need for a festival program on a different model. But in the usual rehearsal process, the orchestra joins at a late stage, has little or no direct interaction with the singers, may not even know the story of the opera, and is rushed through a brief sequence of rehearsals that can easily fall short of musical satisfaction for the participants. The human voice has always been held up as the ideal to which instrumentalists should aspire, and meanwhile in the modern world, opera houses make up nearly half the classical-music employment opportunities for instrumentalists. Orchestral performanceĪ cornerstone of Teatro Nuovo’s new initiative is to give orchestral players an ownership stake in the artistic process of preparing an opera and an organic connection to the art of singing. ![]() Click here to read more about our vocal curriculum. Experience at Caramoor has confirmed that undistracted concentration on the music, style, vocal techniques, and language of Bel Canto opera can yield results that are impossible when those things are folded in with a long list of other topics. We put strong emphasis on the classic building blocks (legato, precision of attack, messa di voce, registration, agility) that are universally honored in name, but no longer widely insisted upon in practice in the profession. Our perspective is that this model, often resting on a single vocal lesson per week, is no longer getting the job done, and that there is need for a program in which all faculty pull together in the same direction, with the singer’s vocal development and skill as their central focus. Most schools and Young Artist programs work on the assumption that the student’s vocal training is taken care of by an individual teacher, and that the rest of the institution and faculty should concern themselves with “everything else” (diction, repertory, acting, dance, stage combat, etc.).
0 Comments
Leave a Reply. |