MASTER CLASSES 2012

Musical Interpretation of Opera Arias
Every student of opera singing, after applying for a job at an opera house or at an agency, will find his way into a professional singing career through a successful audition.
Therefore this course focuses on the preparation of an audition repertoire of 4-6 opera arias for the respective voice. The focus will be particularly on the musical interpretation and vocal presentation. Topics as to voice techniques will only be given marginal attention.
In addition, these arias will be the basis of the coursework for the scenic aspect of auditions. Stage presence and the integration of the body in the artistic presentation are goals of the scenic work with Martina Veh.
Prerequisite is least 6 well prepared opera arias in their original language.
The work during the course will be accompanied by individual advice to questions concerning a future career path. Also general questions about professional practice may be discussed within the group.
The course is open for passive participants.

Voice and body
Each musical performance requires stage presence. The successful performance of a singer, in concert as well as at an audition, especially in the field of musical theatre, requires in addition to vocal technique not only in-depth interpretation of music and text, but also the holistic physical implementation of the interpretive intentions. For the singer every vocal performance is at the same time a scenic performance. A convincing scenic performance - even if it's just a concert performance - does not depend only on the talent of the singer. There are many techniques in the field of acting and of physical training which, when applied in practical scenic drills, can help the singer to a comprehensive presentation.
The combination of a musical- interpretative approach and practical bodily presence is the goal of the course. There will be both individual and group work for the training of scenic presentation.

The opera singer learns singing. In addition, he is supposed to perform. So he tries to be an actor who is playing simultaneously on two instruments: his voice and his body - usually with limited success.  He is not intended to be an actor, but instead a music performer. Music is his means of expression. Only when the voice, including the orchestra, is coordinated with the body can something come of it. In short, the opera singer must embody music as a means of presentation. These basic principles are to be taught in this course.

The course is intended for all double bass players. It is particularly exciting to work with two teachers who offer their knowledge and help from different aspects of bass playing.
French and German bow technique.
Development of technical skills for musical performance.

The course is open to pianists and chamber music ensembles of all ages (from duo upwards) - especially for students and those who aspire to study.
The course repertoire may be freely chosen.
Main emphasis: The Viennese classics, which provide excellent examples  for preparing spoken roles.

For Pianists:
Sound distribution in differentiated listened to movements
Technical groundwork, motion sequences in piano playing
The pedal as a central forming element of the piano

For Chamber Musicians:
Transparency in the ensemble, perception and classification of one's own part in the entire movement, leading and following in the group, estimation of sound balance, etc.
Stylistics of different epochs
Each participant will receive at least 3 hours of lessons (depending on the number of participants) and will be given the opportunity to present the prepared program in a concert at the end of the course.

"Orchestra Lied and Opera"
This joint course will be held by Susanne Kelling and Prof. Michael Luig.

Works:
Orchestra Lied as an autonomous, intellectual scene shaped entirely by the music
Hector Berlioz, Les nuits d'été
Richard Strauss - Orchestral Songs;
Gustav Mahler, Des Knaben Wunderhorn
Opera scene as a realistically designed scene with its specific musical and vocal problems.
Mozart, Cosi fan tutte
Humperdinck, Hänsel and Gretel

Lied and Opera always stand vis-à-vis as an ideal complementation. In the solo-designed opera lied the focus is entirely on the voice, its colours, clear diction and the psychological penetration of the text. How much facial expressions and gestures can and should be sparing used, is a question that is addressed to Lied interpretation as an intimate vocal art. Here an incredibly sensitive accompanying task falls to the conductor in forming strictly from the accompaniment the dialogising sound tapestry that knowingly supports word and meaning of the text at all times, requiring very exact listening and compassionate forming.
In contrast, in the scenic realization of an opera scene the impulse giving hand of the conductor is necessary to tie together the dialoguing moments on stage into a dramatic unity, to take the tension of the scene into the orchestra pit, to further develop it and then to give it back to the singers. It is essential to work out the great "Al Fresco-style" in terms of clarity of text, character and gesture, which in the same way finds its counterpart in the score.

Therefore the course presents the artistically appealing contrast between Lied and opera, which for knowledgeable singers and conductors does not present a conflict. Lied is always focused on the concentrated review of one's own abilities, checking whether one's own instrument - be it the voice or the conductor's conception - really respond to the slightest nuances. This accuracy - inserted into the opera scene - will keep singers and conductors from theatrical exaggeration and also help to discover the inner truth in the formal art form of opera.
The program will be expanded by overtures and orchestral interludes.

Attention! Conducting Course:
The course is limited to 8 active participants. These must present a video showing their abilities as a conductor which must be sent by 15 May 2012. Please ask for the address in the Academy Office.

During the week of rehearsals the participation in the final concert will be decided on by the orchestra and the course teachers following a conducting audition. A right to participate in the final concert does not exist!!
Passive participation is possible.

Attention vocalists:
a right to participate in the final concert is not guaranteed.

"Orchestra Lied and Opera"
This joint course will be held by Susanne Kelling and Prof. Michael Luig.

Works:
Orchestra Lied as an autonomous, intellectual scene shaped entirely by the music

Hector Berlioz, Les nuits d'été
Richard Strauss - Orchestral Song
Gustav Mahler, Des Knaben Wunderhorn

Opera scene as a realistically designed scene with its specific musical and vocal problems.

Mozart, Cosi fan tutte
Humperdinck, Hänsel and Gretel

Lied and Opera always stand vis-à-vis as an ideal complementation. In the solo-designed opera lied the focus is entirely on the voice, its colours, clear diction and the psychological penetration of the text. How much facial expressions and gestures can and should be sparing used, is a question that is addressed to Lied interpretation as an intimate vocal art. Here an incredibly sensitive accompanying task falls to the conductor in forming strictly from the accompaniment the dialogising sound tapestry that knowingly supports word and meaning of the text at all times, requiring very exact listening and compassionate forming.
In contrast, in the scenic realization of an opera scene the impulse giving hand of the conductor is necessary to tie together the dialoguing moments on stage into a dramatic unity, to take the tension of the scene into the orchestra pit, to further develop it and then to give it back to the singers. It is essential to work out the great "Al Fresco-style" in terms of clarity of text, character and gesture, which in the same way finds its counterpart in the score.

Therefore the course presents the artistically appealing contrast between Lied and opera, which for knowledgeable singers and conductors does not present a conflict. Lied is always focused on the concentrated review of one's own abilities, checking whether one's own instrument - be it the voice or the conductor's conception - really respond to the slightest nuances. This accuracy - inserted into the opera scene - will keep singers and conductors from theatrical exaggeration and also help to discover the inner truth in the formal art form of opera.
The program will be expanded by overtures and orchestral interludes.

Attention! Conducting Course:
The course is limited to 8 active participants. These must present a video showing their abilities as a conductor which must be sent by 15 May 2012. Please ask for the address in the Academy Office.

During the week of rehearsals the participation in the final concert will be decided on by the orchestra and the course teachers following a conducting audition. A right to participate in the final concert does not exist!!
Passive participation is possible.

Attention vocalists:
a right to participate in the final concert is not guaranteed.

Repertoire of all styles (works of 20th century welcomed)
Open individual lessons
Final concert
Group sessions on various topics of technical and / or interpretive content (by appointment)
Contents
Differentiated, related to the respective form (timbre, dynamic, phrasing, articulation, tempo, intonation ...)
Technical aspects of playing, sequence of movements
Methods for practicing
Analysis of musical content and its consequences for the interpretation et al.
The number of participants is limited to 10 - the date of registration is decisive.


Jee-Young Phillips - coaching
Gerhard Muller-Hornbach - musical analysis

Prof. Hedwig Fassbender war von 1991-96 Professorin am Konservatorium in Winterthur und ist seit 1999 Professorin an der Hochschule für Musik und Darstellende Kunst in Frankfurt. Von 2001-2011 leitete sie die dortige Gesangsabteilung, die im Dezember 2011 mit dem hessischen Exzellenzpreis für Hochschullehre ausgezeichnet wurde.
In ihrem Kurs gibt sie sichere technische Hilfestellungen und legt Wert auf die stilsichere Interpretation vom frühklassischen bis zeitgenössischen Bühnen- und Konzertrepertoire aller Stimmgattungen. Ein weiterer Schwerpunkt des Kurses wird die vertiefende Arbeit an textdeutlichem Singen sein. Stilsicherheit und Textverständnis sind heute neben einer stabilen und belastbaren Technik unabdingbare Kriterien für eine erfolgreiche Sängerkarriere. 
Maximal 12 Teilnehmer, Photo, Lebenslauf und Aufnahme mit 2 verschiedenen Sachen bis zum 15. Juni per mail ans Kursbüro.
Weitere Infos unter:
www.hedwig-fassbender.de  unter dem Stichwort "Pädagogik"

in cooperation with the Music Council of North Rhine - Westphalia

The master class in composition with Manfred Trojahn takes place in cooperation with the Music Council of North Rhine - Westphalia. The master class will be accompanied by a string quartet for which all participants are asked to create a composition of a maximum of 5 minutes. The orchestra parts and 5 scores are to be sent to the following address (deadline is July 1, 2012):

Dr. Robert v. Zahn
Generalsekretär Landesmusikrat NRW
Klever Straße 23
40477 Düsseldorf
Germany

In addition, all participants are asked to prepare a further composition for string quartet, which will be worked on during the course.

The completed string quartet movements will be developed with the quartet during the course and, under circumstances, be presented in a final concert.

In addition to the rehearsals with the quartet, which are public for all participants and will be led by one of the teachers, individual and group lessons will be offered. Furthermore, the central works of new string quartet literature will be presented and discussed in lectures.

The course is designed for pianists of all ages, also for those aspiring to study. The repertoire can be selected freely and can be comprised of solo works as well as chamber music. The purpose and goal is a comprehensive artistic exploration of the chosen repertoire. At the end of the course the students will present their prepared program in a public concert.

We will be working on solo works for harp and on harp concerts from all eras, as well as on orchestral excerpts and audition preparation.
Each participant has lessons every day (individual and group lessons).
Listeners are welcome!

The final concert in the beautiful hall of the Palazzo Ricci gives an opportunity to present the course's work and also gives the opportunity to realize independent initiatives such as the presentation of harp duos and trios.

The course includes primarily a vocal training, completely divorced of an intellectual imprint. In the foreground is a primordial organ motion which is, through the joy of making music, brought to life in the repertoire.
To this purpose five opera arias must be prepared by heart!
You are requested to apply by sending your artistic vita as well as a recording of two arias.
Please ask for the address in the Academy Office.

Lied and Opera - one voice - two voices?

The master class with Prof. Dr. Jeanette Favaro-Reuter (voice), Prof. Phillip Moll (piano) and Prof. Zvi Semel (accompaniment) concerns the connection between interpretation and technique for singers and pianists. The course is aimed at existing lied duos, as well as individual singers and pianists.

The course emphasizes Lied interpretation from both the vocal side as well as from the part of the accompaniment. The lessons attempt not only through the music but also through literary and cultural contexts as well as pronunciation to reach a deeper understanding and thereby achieve a sensitive and persuasive presentation of text and music.   Thereby a main focus for singers will lie upon the frequent confusion of vocal technique with stylistic requirements in Lied and arias.

The participation will be decided upon by the two lecturers after evaluation of the artistic vita and an audio sample.  Upon receipt of the application, the applicants will receive the address to which the documents should be sent. The closing date for the documents is June 4th, 2012!

The course is offered in collaboration with the master class of Keiko Urushihara.
It is designed for pianists of all ages. In addition to solo repertoire, chamber music may also be prepared. There are no repertoire restrictions. Existing chamber music groups are welcome. As a special feature the course offers the opportunity to develop chamber music works in parallel with both teachers. Thus, individual pianists or violinists can study the duo repertoire

The course is offered in collaboration with the master class of Jacob Jeuschner.
It is designed for violinists of all ages. In addition to solo repertoire, chamber music may also be prepared. There are no repertoire restrictions. Existing chamber music groups are welcome. As a special feature the course offers the opportunity to develop chamber music works in parallel with both teachers. Thus, individual pianists or violinists can study the duo repertoire

Please prepare at least two opera arias, an aria from an oratorio as well as three songs by various composers, including Schubert and Schumann.