Academy brochure - Kashu-do

Härnösand Summer
Opera Academy and Festival 2016
KASHU DO AT KAPELLSBERG
CONTENTS
Introduction: Härnösand and Kapellsberg ............................................................................................................................2
Introduction: Kashu-do (
): The Way of the Singer .....................................................................................................3
Faculty and Performing Artists........................................................................................................................................ 4-13
Program Details……………………………………………………………………………………………………………………14-17
Registration, Accommodations, Fees and Traveling to Härnösand................................................................................... 18
8-20 AUGUST 2015
Kapellsberg at Härnösands Folkhögskola
Kapellsberg Music Department at Härnösands
Folkhogskola is since its beginning in1961 one of
Sweden’s most renowned music training programs
where classical and contemporary music are at the
fore. Here is a creative environment where experienced
and professional teachers give students a solid
foundation upon which to continue their development
as performing musicians, pedagogues and composers.
The Music Department provides full offerings in
Classical Singing, Piano, Percussion, Woodwinds,
Brass, Choral Conducting, Recorder (Flûte-à-bec),
Organ, Composition and Music Pedagogy (Education).
Students study a major and a minor instrument,
participate in ensembles (The Orchestra is organized in
cooperation with Härnösands Music Society) and have
many opportunities to perform on campus and in
venues in the community of Härnösand. For more
information, visit: http://hfs.se/langa-kurser/
Härnösand is the seat of Härnösand Municipality in
Västernorrland County, Sweden with 25,000 inhabitants
and located about 450 kilometers north of Stockholm. It
is called "the gate to the High Coast" because of the
world heritage landscape rises just some miles north of
Härnösand. Härnösand is probably most known to the
uninitiated for its history as a big and important harbor
town and for its beautiful landscapes.
The city center has preserved many traditional buildings
and boasts an active social scene with varied musical
programs, museums In 2004, Härnösand was awarded
the prestigious title “City Centre of the Year.”
The city also has an extensive selection of outdoor
activities in the summer including climbing, kayaking,
trekking, etc. The town also features a summertime
beach Smitingen, which boasts some of the finest
beach-volleyball pitches in the world and which
occasionally gets some surfable waves. Härnösand is
each summer the site of one of the world's largest
airsoft (paintball) events, Berget.
Also known for winter sports, Härnösand boasts world
class ski venues for both downhill and cross country.
Härnösand also has one of the world’s finest schools for
the Olympic sport of curling, which has produced
Anette Norberg who led Sweden to the Team Gold
Medal in 2010.
Kashu-do (歌⼿道): The Way of the Singer
Kapellsberg Music Department at Härnösands
Folkhogskola in beautiful Härnösand, Sweden in
cooperation with Kashu-do Studios, organizes this
summer opera academy to provide the everdeveloping singer an opportunity to hone in the
many skill-sets required of an operatic artist in an
environment that is as supportive and genial as it is
focused and challenging.
One of the problems with current vocal pedagogy is the deep
chasm that exists between traditional methods and scientific
approaches. The singer schooled in traditional methods is often
confused with regards to sensations that are often similar but
produce different results. The scientific method speaks empirically
about vocal function but does not address the often confusing
physical sensations that singers experience. One traditional axiom
states: “The nose must be in the sound but the sound must not be
in the nose.” The science-based method simply states that
“nasality reduces vocal intensity and is therefore discouraged.”
The Kashu-do approach takes into account that a tone that is
well-produced with respect to phonation and resonance
adjustment will produce strong vibrations that are carried through
the bones of the chest and head, including strong vibrations in the
area of the “mask” that are distinctly different from “nasal” sounds.
This method combines the empirical information made available
by the latest discoveries in vocal science with the traditional
wisdoms based on sensory feedback. At the end, the singer is
able to explain physical sensations in terms of anatomical truth
and give “flesh” to scientific precepts. Indeed Kashu-do (
) goes beyond vocal technique. Singers
are encouraged to challenge themselves in order to remedy
weaknesses not only in technique but in musicianship, language
skills, stage techniques, emotional expression, etc. The
assembled faculty is expressly selected to carry out this
philosophy of training the “total singer”.
The program will provide daily classes in physical
fitness and mental focus, vocal technique, musical
coaching, scenic interpretation, language and
diction, body-alignment/muscular balancing and
ensemble singing. Additionally each singer will have
the opportunity to perform in daily master classes
and take part in a performance of arias and scenes
at the end of the program as well as a final concert
with the faculty. Kashu-do (
): The Way of the
Singer is a philosophy of vocal artistry developed by
Dr. Jean-Ronald LaFond. In short, it is a process
that opens the developing singer to the awareness
of the many elements that must be mastered in
order to achieve true competence as a vocal artist,
with particular emphasis on opera. The approach is
“inclusive” not exclusive.
The Faculty—Voice
Arguably the finest Pélléas on record, the Grammy Award winner (Ferrando--Cosi fan tutte)
George Shirley, tenor literally opened the door for men of color on the operatic stage. The first
black tenor to sing lead roles at major opera houses all over the world ( Covent Garden,
Metropolitan Opera, Glynebourne, Deutsche Oper Berlin, Netherlands Opera, Teatro Colon, etc),
paradoxically Maestro George Shirley's artistry transcends race. A pedagogue for more than a
half century, He has held professorships at the University of Maryland and the University of
Michigan. He is a colleague beloved by his peers and a teacher admired by his students, evoking
a level of respect that very few can inspire. It is our great honor to welcome him to Härnösand
Summer Opera Academy as our featured teacher for the second year in a row.
Mezzo-soprano Gail Dubinbaum has performed both opera and concert works internationally. She
has sung leading roles with some of the world’s most prestigious opera companies including the
Metropolitan Opera, Vienna Staatsoper, Israel Opera and L’Opera de Montreal. Nationally, she has
appeared with Opera Pacific, Detroit Opera, Portland Opera and Arizona Opera. On the concert
stage, Ms. Dubinbaum has sung with the Los Angeles, Israel, New York, Boston, Cleveland and San
Francisco Orchestras ... and with such renowned conductors as Zubin Mehta, James Levine,
Michael Tilson Thomas, Gerard Schwarz, Carlo Maria Giulini and Leonard Bernstein. Known for
her portrayals of Rossini and Mozart heroines, Ms. Dubinbaum has also distinguished herself in
recital, having worked closely with the legendary soprano, Elisabeth Schwarzkopf. Beginning her
studies with her mother, Ruth Dubinbaum, she continued her private studies with the great
German mezzo, Mme. Herta Glaz. Her credits include the Ann Arbor May Festival, Blossom
Festival, Hollywood Bowl, Tanglewood and Aspen Music Festival, where she was also an instructor.
She appeared on television in the series “In Performance at the White House” and “Live from the Met.” Her DVD recordings
include “Francesca da Rimini” with the Metropolitan Opera and the “Met Centennial Gala.”Most recently Ms. Dubinbaum
performed the role of Suzuki in Phoenix Opera's production of Madama Butterfly. For nearly a decade, her private studio in
Phoenix has produced singers who consistently win national competitions and land leading roles with major opera companies.
Gail and her husband John Massaro are co-founders and directors of Phoenix Opera in Arizona (USA).
Michel Grillo-Hart, baritone, counts among his teachers the legendary bass Boris Kristoff and the
triumvirate of American vocal pedagogy, William Venard, Berton Coffin and Richard Miller.
Considered among the top pedagogues in France he is in great demand for master classes
worldwide. He currently runs CIREV, a center of vocal research in Paris providing regular
workshops for singers of all levels. Maestro Grillo-Hart’s holistic approach combines traditional
techniques back to Manuel Garcia with modern pedagogical concepts including vocal acoustics.
His process also includes a total attention to the body as instrument. He enlists the expertise of his
wife Sylvie Heyvaerts, an expert in Chi Gong, muscular mechanics and massage-therapy who
applies her skills specifically to the development of the singer’s voice. www.chanter-cirev.com
Karin Bengtsdotter-Olsson, mezzo-soprano, received her education as voice and piano
pedagogue from the Musikhögskola in Örebro. She has been active as a voice pedagogue
since 1979 and at Musiklinjen Kapellsberg since 1987. She has been an active soloist in
oratorio and a refined recitalist. One of the most effective voice teachers to be found
anywhere, whose skills are only rivaled by her deep humility, it is our great honor to have
her active participation as voice pedagogue at Härnösands Summer Opera Academy.
The Faculty—Voice
Dr. Jean-Ronald LaFond, tenor (Adminsistrator/Voice Teacher) is a singer and
international voice teacher with studios in New York, Berlin, Düsseldorf, Mannheim,
Germany and several locations in Sweden. He holds the DMA and MM degrees from the
University of Michigan and the BM degree from Westminster Choir College. He has
presented over 300 recital programs, nearly 40 operatic roles and many oratorio and or
concerts throughout the world. He speaks eight languages and sings in more than a
dozen. Dr. LaFond taught at the University level for 11 years and has written extensively
about pedagogy and interpretation. His students sing in A houses in Europe and in the
United States. He established the philosophy of Kashu-do (
): The Way of the
Singer, a process designed to train the total singer. www.kashudo.com
Dr. Kathrine Osborne, mezzo-soprano is currently Instructor of Voice at Northern Iowa
University. She has been featured in operas and oratorios from the Baroque to the 20th Century
including most recently, the title role in Britten’s Rape of Lucretia, Mercedes in Carmen, soloist
in Mozart’s Requiem, etc…A respected pedagogue and researcher, Dr. Osborne is the 2014
recipient of the coveted Van Lawrence Prize given each year by the Voice Foundation and the
National Association of Teachers of Singing to one pedagogue who makes effective use of vocal
science in his or her teaching. Dr. Osborne co-taught the first Kashu-do Teacher Training
Program during the HSOAF 2015 with Dr. LaFond to a resounding success.
Anna Niedbala, Soprano, began her career as a mezzo-soprano singing such roles as
Cherubino, Dorabella, Cenerentola etc, with Opera Illinois, Sarasota Opera, Chicago Opera
Theater among others. She changed to soprano with the role of Donna Elvira (Don Giovanni
and later Fiordiligi, Desdemona and Santuzza. She made her European debut as Vitellia (La
Clemenza di Tito) with Salzburg’s Landestheater. A gifted teacher, Anna was chosen as an
inaugural member of the first Kashu-do Teacher Training Program and taught at the HSOAF in
2015. She continues her performance activities in Germany where she also runs her vocal
studio in the city of Dortmund.
Meta Powell, dramatic soprano has received critical acclaim for her recent appearances as
Brünnhilde from both Die Walküre and Götterdämmerung for Opera Forge at the Royal
Festival Hall and at St. John Square (London). She appeared to critical acclaim as Ortlinde
(Walküre) and Third Norn (Götterdämmerung) for Longborough Festival Opera and The
Wagner Society of London. Future appearances include all three Brünnhildes (Walküre,
Siegfried and Götterdämmerung) for Opera Forge. An accomplished vocal pedagogue, she
represents Kashu-do Studios in London and has the distinction to be one of two singers
designated Gold Level Singer, the highest level of technical achievement in the Kashu-do
System. Metal Powell has studied advanced forms of meditation, which contribute to her
multi-faceted teaching style. Meta was among the teachers chosen for the inaugural Kashu-do
Teacher Training Program and was a featured teacher at HSOAF 2015.
The Faculty—Voice
Anna Hanning, soprano has appeared as Queen of the Night, Olympia, Valencienne, Nedda
and Tosca, among other roles with theaters throughout Sweden and in Europe. A seasoned
concert singer, she is in great demand for oratorio and recitals. Anna received her education
at the Music Conservatories of Piteå, Goteborg and Bermingham England. Anna is a member
of the Opera Studio team of teachers at Kapellsberg Musiklinje of Härnösands Folkhögskola.
Dr. Jacob Lassetter, Baritone: In the summer of 2016 Dr. Lassetter will sing the title role in
Mendelssohn’s Elijah as a guest artist with the Bassi Brugnatelli International Conducting and
Singing Symposium in Robbiate, Italy. Other performances this season include Beethoven’s
Symphony no. 9 at the University of Wisconsin – Stevens Point and Haydn’s Lord Nelson Mass
at St. Andrew Lutheran in Mahtomedi, Minnesota. Earlier in 2015 he made his Wagner debut in
the role of Wolfram in Tannhäuser with Apotheosis Opera in New York City, and returned to the
Rochester Choral Arts Ensemble to debut as baritone soloist in Bach’s Mass in B Minor. In 2014
Dr. Lassetter returned to Music by the Lake to sing his first Horace Tabor in The Ballad of Baby
Doe. In 2013 he debuted as baritone soloist in Walton’s Belshazzar’s Feast at Luther College,
and he reprised his critically acclaimed interpretation of the baritone solos in Orff’s Carmina
Burana with both Ottumwa Symphony Orchestra and Grinnell Symphony Orchestra… Assistant
Professor Music (Voice and Opera) Luther College (Iowa)
Dr. Karen Kanakis, soprano, is hailed for her fine vocal technique and dramatic flair. “Her voice
and her stage presence are a delight,” wrote a critic of her performance as Sybil in the world
premiere of Hans Schaeuble’s Dorian Gray. Her operatic credits include Violetta in Verdi’s La
Traviata, which she has performed both in the United States and in Italy, Alice Ford in Falstaff,
Abigaille in Nabucco, Donna Elvira in Don Giovanni, Countess Almaviva in Le nozze di Figaro,
Rosalinde in Die Fledermaus, and the title role in Lucia di Lammermoor. Active also in concert
and oratorio, Ms. Kanakis has been a featured soloist with symphony organizations performing
the Verdi Requiem, Mendelssohn’s Elijah, Brahm’s Ein Deutches Requiem, Haydn’s Lord Nelson
Mass, Handel’s Messiah, Mozart’s Requiem, and Orff’s Carmina Burana. In 2008 she made her
Carnegie Hall debut in the Weill Recital Hall alongside her husband, baritone Jacob Lassetter.
She can also be heard on American composer Brooke Joyce’s CD “Waves of Stone” on the
Innova label. She is Associate Professor (Voice and Opera) at Luther College (Iowa).
Helene Lindqvist, soprano is of Swedish and Egyptian descent. She began her vocal
training in Stockholm with Florence Düselius. She then studied at the University of
Music in Saarbrücken, Germany and at the Mozarteum in Salzburg, Austria. Her teachers
included Éva Marton and Bernd Weikl. From 1996 to 1999 she was a permanent
member of the Saarland State Theater. There she sang such roles as Ännchen, Ilia
Kriemhild in The Merry Nibelungs, Belinda in Dido and Aeneas, the Hitomaru in the Die
Reise. She appeared at Theater Regensburg between 2001 and 2010 where she sang
Gilda Franziska Cagliari in Vienna Blood, Morgana in Alcina, Nuri in Tiefland and
Tatyana in Eugene Onegin. Additional guest engagements followed at the Hamburg State
Opera and the City Theater Augsburg as well as a regular ensemble contract in Ulm,
where she will soon return in the title role in Verdi’s Aida. Her extensive repertoire
includes many Baroque operas, including by Henry Purcell, George Frideric Handel and
Claudio Monteverdi. She also sang the roles of Donna Anna, Contessa Almaviva,
Fiordiligi, Violetta, Michaela and Desdemona. In 2011 Helene and her husband, pianist Philipp Vogler, developed a website
called The Artsong Project, dedicated to bringing attention to great song repertoire by less known composers.
theartsongproject.com
The Faculty—Conductors/Pianists
Daniel Beckwith, conductor, has appeared in many of the major opera houses throughout North
America and Europe. With a repertoire that spans the 17th through the 20th centuries. He served as
assistant to James Levine for six seasons at the Metropolitan Opera and was given his conducting debut
with Don Giovanni in 1995. The operas of Mozart have figured prominently in Daniel Beckwith’s
career. His return engagement to the Metropolitan, as well as his San Francisco Opera and Portland
Opera debuts was with Don Giovanni; Vancouver, Baltimore, Edmonton and Arizona opera companies
have all heard his performances of Le Nozze di Figaro. His Australian opera debut in 1998 was with
another personal favorite, La Clemenza di Tito. His return engagement to the Seattle Opera and his
debut with the Washington Opera was with Die Zauberflöte. Daniel Beckwith’s love of, and affinity
for, the Baroque, early classical, and the bel canto repertory has given him the opportunity to perform
many of the cornerstone operas of these varying periods: Orphée et Euridice [Utah Opera], Cimarosa’s Il
Matrimonio Segreto [Wolftrap Opera Festival]; Lucia di Lammermoor [Cincinnati Opera], Il Barbiere di Siviglia [UK’s Opera North,
Florida Grand Opera, Wolftrap Opera Festival], L’Italiana in Algeri [Cleveland Opera, Opera Columbus, Chautauqua Opera, Opera
Festival of New Jersey], and G.F. Handel’s Oreste [The Juilliard School and Spoleto Festival, Italy]. The vehicle of his April 2000 New
York City Opera debut was a new production of Rameau’s Platée which featured the Mark Morris Dance Group. In demand as a
partner in recital, Daniel Beckwith has appeared in the USA and Europe accompanying artists such as Renée Fleming, Benita
Valente, Carol Vaness, Nancy Gustafson, Marilyn Horne, Frederica von Stade, Jennifer Larmore, Denyce Graves, Susanne Mentzer,
Jerry Hadley, Ben Heppner, Richard Leech, Nathan Gunn and Samuel Ramey. His television credits [with Renée Fleming] include
Good Morning America, The View, Martha Stewart Living.
James Jenkins is an active collaborative pianist, vocal coach, and composer. A former resident of
the Washington, DC area, James has performed in many of Washington’s most prestigious venues,
including the Kennedy Center Millennium Stage, Arts Club of Washington, Smithsonian Institution,
National Gallery of Art, the Embassy of Luxembourg, the Strathmore Mansion, and the Washington
National Cathedral. He was also the pianist for the award-winning Thomas Circle Singers from
2007-2012, during which they premiered works by American composers Gwyneth Walker and Blake
Henson. From 2012 to 2015, as a resident of central Ohio, James worked with numerous
professional organizations including Opera Columbus, Opera Project Columbus, the Carpe Diem
String Quartet and Columbus Dance Theatre, and was a freelance pianist and vocal coach at The
Ohio State University and a staff accompanist for Ohio Wesleyan University. During the summer of
2015 he was an accompanist and vocal coach at Härnösand Opera Academy and Festival in
Härnösand, Sweden, where he had the pleasure of accompanying the legendary tenor George
Shirley in recital. During the summers of 2007-2009 he accompanied and assisted distinguished
artists and conductors in workshops at Westminster Choir College, including singers Julianne Baird
and Elem Eley, and conductors James Jordan, Weston Noble, Joe Miller and Bruce Chamberlain. James especially enjoys
composing art song. His song set The Living Root was premiered at historic St Margaret’s Church in Annapolis, MD in 2011 and
selections performed in 2015 at the Alba Music Festival in Italy. Mr. Jenkins received his M.M. in collaborative piano from the
University of Maryland, College Park and his B.M. in piano performance from Stetson University.
Mona Sandström Kontra, since 1996, member of the Nordic Chamber Ensemble, Sundsvall has toured in
China, Scotland, England and Iceland and made several CD and radio recordings. She is also the pianist
in the Nordic Chamber Orchestra Sundsvall. Mona Sandström Contra debuted at 12 years old as a soloist
in Mozart's Double Concerto in E flat major with the Norrköping Symphony Orchestra. At the same age,
she made recording debut with Honegger clarinet sonata and Petite Pièce for Clarinet and Piano by
Debussy. Received at 21-years of age the soloist diploma in 1987 after studies at the Sibelius Academy
1983-87 Professor Eero Heinonen. She studied abroad with Maria Tipo in Geneva, Claude Helffer in Paris
and Michele Campanella in Italy with the Royal Academy of Music's foreign scholarships. She has been
a soloist with several Swedish orchestras and has participated as a chamber musician at festivals in
Sweden and Europe. She is a member of the joint Nordic piano trio, Trio Nordica has toured in Europe and the US, has recorded
several CDs, appeared on radio and TV and played Beethoven's Triple Concerto with the Iceland Symphony Orchestra.
John Massaro is the Principal Conductor for Phoenix Opera where he has led productions of La Boheme,
Tosca, Aida, Carmen, Madama Butterfly, Magic Flute and La Traviata. Most recently, he conducted opera
Galas with world renowned opera superstars Dmitri Hvorostovsky and Jonas Kaufmann. Mr. Massaro
served as an assistant to Leonard Bernstein during the creation of A Quiet Place and to Zubin Mehta for the
Israel Philharmonic’s production of Madama Butterfly in Tel Aviv, Haifa and Jerusalem. He worked
extensively with the great German soprano, Elisabeth Schwarzkopf, with whom he coached both Opera
and Art Song repertoire. Mr. Massaro made his Carnegie Hall debut conducting the Mozart Requiem which
led to a distinguished European tour to Budapest, Krakow, Prague, Salzburg and Vienna, where he
conducted several additional Mozart masterpieces in a 250th anniversary celebration of the composer’s birth. He debuted with
the Phoenix Symphony in 2002, conducting a 9/11 memorial concert, which included his own arrangement of the National
Anthem. He has also served as Musical Director for the Phoenix Theater and the Black Theatre Troupe (BTT), where he received
an AriZoni Award for BTT’s production of Blues in the Night. As the first Music Director for the Arizona Broadway Theatre, Mr.
Massaro conducted numerous stage productions including: Anything Goes, Man of La Mancha, Damn Yankees, HMS Pinafore,
The World Goes Round, How to Succeed in Business Without Really Trying and South Pacific winning awards for his work
there.
Kanako Nakagawa, pianist (Song Track) received her musical and pianistic education first at the renowned
Toho School of Music in Tokyo. She later attended New York’s Juilliard School under the guidance of Jane
Carlson, the Royal Academy of Music London under Yonty Solomon and lastly at the Hochschule für
Musik Karlsruhe in the Lied Interpretation class of Hartmut Höll and Mitsuko Shirai. Früchten Her
Awards include the Gina Bachauer Memorial Prize, New York, Second Prize and the Special Prize for
Liedduo at the International `Franz Schubert und die Musik der Moderne´ Competition in Graz 2000.
At the first „Internationalen Wettbewerb für Liedkunst Stuttgart 2001“ with the baritone Herman
Wallén she received the First Prize for Liedduo. Her concerts as soloist, Lied pianist have taken her to the
USA, Switzerland, Japan, England, Belgium, France, Italy, Finland und throughout Germany. Kanako
Nakagawa has served in the song preparation faculty at the Hochschule Für Musik Karlsruhe and Since
2004 has been engaged as teacher of song preparation at Berlin’s Hochschule für Musik Hans Eisler.
Philipp Vogler, pianist/conductor, received his education at both the Hochschule für Musik in Köln and in
Düsseldorf. He has been conductor at the theaters of Saarbrücken and Augsburg in Zauberflöte and
Barbiere among other works and has appeared internationally at London’s Royal Albert Hall conducting
Carmina Burana and Holst The Planets. He was engaged at the Hamburg State Opera, first as répétiteur
and then as Head of Music. Since 2003 Philipp Vogler holds the position of Music Director of the Opera
Program at München’s Hochschule für Musik und Darstellende Künste, where he has conducted many
local premieres including first showings of Bellini’s Capuleti e Montecchi Karl Amadeus Hartmann’s Wax
Works and Korngold’s Mute Serenade. Philipp records regularly as piano soloist, with his wife, soprano
Helene Lindquist as well as violinist Stephan Schardt. He and Helene Lindquist maintain The Art Song
Project, a website dedicated to great but less known song repertoire.
The Faculty—Other Specialties
Helén Lundquist-Dahlén (Administrator/Choral Director) is the headmaster of Music, Opera and Dance
educations at Härnösands folkhögskola. She is a choir instructor, conductor, and conducting teacher and has
studied under professor Erik Westberg and professor Eric Ericsson among others. She is a major force and
motor in the music scene in Mid-Sweden with concert, opera and festival productions and is co-founder of
Courthouse Music.
Sifu Karl Romain (Physical Fitness/Tai Chi) is a world champion Kung Fu expert who has become one of the
most sought after physical fitness and life coaches in the United States. He has been coach to the world
champion New York Giants Football Team and is fitness advisor and Tai Chi Instructor to many notable
Television personalities including Dr. Oz (Tai Chi). He has been a guest on the Oprah Winfrey Show and
dozens of radio and television programs. He is an author of several books including The Shaolin Athlete,
The Self-Confidence Factor: A parent's guide to Bully Prevention and Legendary Longfist.
www.sifuromain.com
Regisseur Marc Verzatt maintains an active career directing opera, operetta, and musical theater
throughout the United States, South America, and Europe. He began his theatrical career as a dancer with
the Metropolitan Opera after studying drama at Rutgers University and ballet with New Jersey’s Garden
State Ballet. He made his professional directing debut with a production of Offenbach’s Les contes
d’Hoffmann with Opera Columbus. He has since directed productions with the Teatro Colón, Buenos Aires,
Lyric Opera of Chicago, Houston Grand Opera, Florida Grand Opera, and the opera companies of Fort
Worth, Lake George, Madison, Arizona, Toledo, Atlanta, Kansas City, Baltimore, Idaho, and Mississippi. He
joined the faculty of Yale University’s School of Music Graduate Opera Program, where he directs the
Acting and Movement workshops. He has directed several Yale Opera productions, including Britten’s A
Midsummer Night’s Dream and a new production of “I Capuleti e i Montecchi” in February 2013. In 2005
he was engaged by the Metropolitan Opera for a speaking role in Strauss’s Ariadne auf Naxos. In 2006 he was named Outstanding
Stage Director of the Year by Classical Singer magazine.
Sylvie Heyvaerts, Contemporary Dancer and Chi Gong teacher specialize in Muscular Balancing. Sylvie
Heyvaerts is certified from the European Qi Gong Association and teaches in the culture centers of Paris
through the Department of Culture. She teaches together with Voice Teacher, Michel Grillo-Hart and has
developed a very effective muscular balancing protocol for singers based on the interconnectivity of
muscular systems. Her work at the Härnösand Summer Opera Academy in 2015 made it clear we had to
have her back this year in a full-time capacity CIREV Paris. France
Jacquelyn Penfold, musicianship and ear-training. Besides developing a rangy and resonant soprano voice,
Penfold recently finished her Masters in Kódaly Techniques and has been the official musicianship teacher
for Kashu-Do Studios. In this capacity she has helped many developing singers resolve musicianship issues
that hampered their professional growth. Jacquelyn Penfold worked for 7 years as a middle school music
teacher, concentrating her efforts in teaching fundamental musicianship to young musicians. As a singer
she has had a wealth of experience in Early Music as well as musical theater. A member of the inaugural
Teacher Training Program last summer, we are pleased to have her share her varied skills at the Academy in
an official capacity.
The Faculty—Early Music Institute
Kate Hearne is a recorder player and a baroque cellist from Dublin, Ireland. After completing her Bachelor’s
degree at the Royal Irish Academy of Music in 2002, Kate decided to leave the Green Isle, and she headed
North to Sweden to study with recorder virtuoso Dan Laurin at Stockholm’s Royal College of Music. While
there, Kate also began Baroque cello studies with Chrichan Larson, and she went on to complete her
Masters studies on both instruments in 2007. This was originally planned to be a short trip, but, despite the
long, cold winters, Kate is still living in Sweden, from where she travels throughout Europe working as a
free-lance musician. In 2005, Kate won the inaugural Montréal International Recorder Competition, putting
her on the map as one of the emerging stars of both the Early Music and recorder scenes. She is in demand
as a soloist, chamber and orchestral musician with some of Europe’s leading Baroque ensembles, including
the Irish Baroque Orchestra, Concerto Copenhagen (Denmark), Arte dei Suonatori (Poland), Barokkanerne
and the Baroque Soloists (Norway), the Drottningholm Court Theatre Orchestra (Sweden), as well as many
other smaller groups. In 2010 she will appear as a soloist in numerous festivals, including the West Cork
Chamber Music Festival and the Sligo Baroque Festival. She has also started a new quartet, called
“Woodpeckers”, alongside three other talented young prizewinning recorder players, Katarina Widell, Per Gross and Caroline Eidsten
Dahl, and they are currently working alongside Norway’s Rikskonsertene in a new production for children that will tour in 2011. Kate
is very passionate about the performance and promotion of Early Music among young people, and she spreads this energy and
Christina Larsson Malmberg is a soprano specializing in classical, Baroque, Renaissance and Medieval
music. In the spring of 2016, she is among other things current in Opera Office's first performance of the
cast in my heart ( www.operabyran.se ), Festival Baroque WOMEN at Red Rock art gallery in Gothenburg
Opera ESCARRAMAN with ensemble Via Artis Konsort ( www.escarraman.com ). See the calendar for more
info! Christina is often engaged as a soloist in fairs and oratorios with orchestras around Europe. Among
other things, she has sung solo parts in Handel's Messiah, Bach's St John Passion, St Matthew's Passion and
B Minor Mass, Vivaldi's Gloria, Pergolesi and Scarlatti's Stabat Mater, Monteverdi's Maria Vespers, Haydn's
Nelson Mass and Bach cantatas as Jauchzet Gott in allen Landen, Ich habe genug, Mein Herze swimmt im
Blut & Coffee cantata. She has sung with orchestras such as the Drottningholm Baroque Ensemble, Soloists
Copenhagen, Tallinn Baroque Orchestra, The Harp Consort, Barokksolistene, Stockholm Baroque Band, New
Bach Society, Lund City Orchestra, Gävle Symphony Orchestra and others … In the summer of 2013, she was artist in residence at
the Vadstena Academy of Performing Arts Group Office Opera and sang the soprano role in the show courtesan & Love. Other
operatic roles include Anima in the opera Rappresentatione di Anima et di Corpo of Emilio del Cavalieri, who played at Copenhagen
Renaissance Music Festival in October 2010 directed by Deda Cristina Colonna, and the title role in the show Lovisa Ulrika
choreographed by Susanne Jaresand recorded on Confidence in spring 2011, and touring around the country from 2011 to 2014.
Christina gives chamber music programs and has toured international festivals with recorder virtuoso Dan Laurin and harpsichordist
Anna Paradiso Laurin. She does duoprogram with luthier Jonas Nordberg and has repeatedly worked with Linnaeus Quintet in
Uppsala. She is also active as a professional singer in the ensemble including Eric Ericson Chamber Choir, Ensemble Villancico and
the Gregorian ensemble Gemma. With the Castle Church Vocal Ensemble Christina has sung in many of the royal family ceremonies
and religious services, such as Princess Estelle's christening, Princess Madeleine and Chris wedding, Princess Leonore baptism, etc ...
Alessandro Quarta, conductor and composer, specialises in the vocal repertoire of the Renaissance and
Baroque. As a singer he worked with prestigious esembles from 1993 to 2000. From 2001 to 2007 he has
been chapel master at the Pantheon. At present he holds the same position at the Roman church of Santa
Lucia del Gonfalone. He teaches stage singing at the Scuola di Recitazione Fondamenta in Rome, madrigal
and oratorio singing at the International Early Music Festival of Urbino (FIMA) and held masterclasses at
Conservatorio Licinio Refice in Frosinone (2013) und Hochschule für Musik und Tanz in Cologne (2014).
Since 2014 he is guest-conductor of the vocal ensemble Ars nova in Salamanca. Quarta conducts
musicological research, focusing on the unpublished repertoire of the Rome School (for German Historical
Institute of Rome, and of the Rome Istituto Bibliografico Musicale).
The Faculty—Early Music Institute
Swedish lutenist and guitarist Jonas Nordberg belongs to the new generation of exciting musicians in the field
of plucked instruments. A graduate of the Mozarteum University Salzburg (MA Summa cum Laude 2011), he
has an active schedule as a performing artist on lutes and guitars. Thereby his repertoire ranges from early
renaissance lute music to contemporary soundscape explorations. In between we find solo repertoire for
baroque lute, baroque guitar, early 19th century guitar and theorbo. He has an extensive collaboration with
choreographer Kenneth Kvarnström, resulting in several large scale stage works in recent years. The meeting
between baroque music and contemporary dance gives the music a new dimension, a visual chamber music
partner for the solo pieces and a way to communicate through physical gestures and impulses. In 2013
Nordberg and Kvarnström teamed up for a critically acclaimed duet, sofa(r), combining elements of dance,
baroque music for lute and theorbo, electronic music and speech in a dark work exploring death. This also marked his debut as a
dancer. Nordberg has a strong interest in collaborating with singers and past colleagues include Susanne Rydén, Olle Persson, Ruby
Hughes, Elin Rombo, Christina Larsson Malmberg, Lena-Susanne Norin and Christina Högman. He also works together with
Operabyrån, co-creating the cutting edge stage work Love and the Courtesan (2013) together with Christina Larsson Malmberg
(soprano), Catalina Langborn (baroque violin) and Karin Modigh (dance). It is a piece based on a libretto on the life of Barbara
Strozzi including music by her and other female 17th century composers. Venues and festivals the past seasons include
Kammermusikfest Lockenhaus, Greenwich Early Music Festival, Stockholm Early Music Festival, Movimentos festwochen Wolfsburg,
BAM New York, Mozarteum Salzburg, Malmö Opera, Kulturhuset Stadsteatern, Helsingfors Stadsteater, Salzburger Landestheater,
Palladium Malmö,Herculessaal Residenz München, Concertgebouw Brügge, Theater Bonn Opernhaus, Grand Théatre Luxembourg,
Vadstena Gamla Teater and Norrlandsoperan amongst several other concert halls and churches around Sweden and Europe. He has
recorded three albums for BIS Records with recorder player Dan Laurin, two of them to be released later this year. October 5th marks
American tenor, Zachary Wilder (Early Music and Massenet Melodies Project, graduated from the Eastman
School of Music with a Bachelor’s in Music before completing a Masters in Music at the Moores School of
Music, University of Houston. Additionally, Zachary was a Lorraine Hunt-Lieberson Fellow at Emmanuel
Music, a Gerdine Young Artist at the Opera Theater of Saint Louis, an Adams Vocal Masterclass Fellow at the
Carmel Bach Festival, a Tanglewood Music Centre Fellow, a Britten-Pears Young Artist and a member of the Les
Arts Florissants academy for young singers, Le Jardin des Voix 2013. Currently living in Paris, Zachary is a
sought after performer both on the operatic and concert stage. He has worked with musical luminaries such as
Leonardo Alarcón, Elliot Carter, William Christie, Harry Christophers, James Levine, Stephen Lord, Mark
Morris, Paul O’Dette, Christophe Rousset, and Stephen Stubbs. Zachary has also performed with numerous
ensembles internationally, including Apollo’s Fire, Les Arts Florissants, Ars Lyrica Houston, Back Bay Chorale, Blue Heron, Boston
Early Music Festival, Les Bostonades, Cappella Mediterranea, Ensemble Clematis, Ensemble Médical de Munich, Emmanuel Music,
Festival d’Aix-en-Provence, A Far Cry, The Green Mountain Project, Handel & Haydn Society, Harvard Baroque Orchestra, Houston
Bach Society, Les Talens Lyriques, Mark Morris Dance Group, Mercury Houston, Opera Omaha, Pacific Musicworks, Portland
Baroque Orchestra, San Antonio Symphony, Tenet and Tesserae Ensemble.
Guest Artists—Massenet Melodies Project
Dr. Mutsumi Moteki pianist (Song Track: Massenet Mélodies Project), Since her college years in Tokyo,
Japan, Mutsumi Moteki has been active as a vocal coach/collaborative pianist. She received extensive
training in this area at Westminster Choir College (under Glenn Parker and Dalton Baldwin) and
University of Michigan (under Martin Katz) as well as prestigious summer programs such as Music
Academy of the West, Steans Institute for Young Artists, Franz-Schubert-Institut in Baden bei Wien and
Conservatoire de musique in Genève. She is currently an associate professor at the University of
Colorado Boulder, where she teaches singing diction, vocal repertoire, French song literature and vocal
accompanying, and heads the musical staff of Eklund Opera Program. She has performed regularly with
singers such as Patti Peterson, Keri Rusthoi, Patrick Mason and Irene Friedlob, and has appeared in
recitals in Austria, Switzerland, Japan, Mexico, Macedonia and Germany as well as in the United States.
Known for her effective and unique vocal coaching style, which promotes beautiful legato singing as well as detailed diction and
interpretation, Dr. Moteki has been seen in master classes at many universities and college in the U.S. In the spring of 2000 she taught
five weeks at Hochschule für Musik “Hanns Eisler” in Berlin, Germany, as an exchange vocal coach. She also taught at Kobe College
in Japan for a year as the Bryant Drake Guest Professor during the academic year 2002-2003. In the summer she taught vocal
accompanying at the University of Miami’s Salzburg Summer Program from 2005 until 2014. As one of the pioneers among Asian
vocal coach-pianists working in the U.S., Dr. Moteki holds a special place in this field. In 2011 she gave a lecture/master class on
“Singing in Italian” at the Italian Cultural Center in Tokyo, Japan, and gave a presentation about vocal coaching and a master class at
the International Collaborative Piano Literature Symposium at the Tainan National University of Arts in Taiwan, where she also held a
short residency as a master teacher. She co-translated “The Complete Collaborator: the pianist as partner” by Martin Katz into
Japanese, and the Japanese edition was published in the spring of 2012. Another important project for Dr. Moteki is to promote
Japanese art songs in the U.S. With Dr. Kumiko Shimizu at the Delta State University she is co-editing a Japanese Art Song Anthology,
and its Vol. 1 was published by Classical Vocal Reprints in September of 2014. With Dr. JungWoo Kim, baritone, she presented a
lecture recital on “Songs of East Asia” at Hope College, Murray State University, and CU-Boulder in 2015.
American baritone Raymond Ayers (Massenet Melodies Project) American baritone Raymond Ayers
has performed at theaters across the U.S. and Europe, accumulating a repertoire of over 75 roles.
Recently he was seen performing: DER FERNE KLANG (Graf/Schauspieler) at Nationaltheater
Mannheim with GMD Dan Ettinger, LA BOHEME (Marcello) at Theater Bremen directed by Benedikt
von Peter, DON CARLO (Rodrigo) at Theater Hagen directed by Philipp Kochheim, Händel’s MESSIAH
with Laurent Gendre conducting at the Musique Baroque en Avignon as well as performances with
Radio Festival Montpellier singing CARMINA BURANA, which was broadcast on French National
Radio. Other notable performances include IL BARBIERE DI SIVIGLIA (Barber) with Theater Bonn, LA
TRAVIATA (Germont) with Staatstheater Braunschweig and Bernstein’s MASS (Celebrant) with the
Minnesota Orchestra. This fall Mr. Ayers continues as leading baritone at Germany’s Nationaltheater
Mannheim. There he will be featured in the World Premier of GOLEM (Athansius) by Bernhard Lang as
well as: IL BARBIERE DI SIVIGLIA (Figaro), TURANDOT (Ping), DIE LUSTIGE WITWE (Danilo), DER
FERNE KLANG (Graf/Schauspieler), DIE ZAUBERFLÖTE (Papageno), ALCESTE (Hercules/Apollo), LA
BOHEME (Schaunard) and as baritone soloist in CARMINA BURANA. Past operas include: FALSTAFF (Ford), L’ELISIR D’AMORE
(Belcore), DIE LIEBE ZU DREI ORANGEN (Pantalone), FREISCHÜTZ (Ottokar) and PAGLIACCI (Silvio). Having a natural affinity and
ability for modern music, Mr. Ayers has been involved with a number of productions and premiers in this genre: The German Premier
of SELMA JEZKOVA - DANCER IN THE DARK (Bill Houston), the European Premier of SALSI PUEDES (Chucho), the World Premier of
THE STAR GATHERER (Mega the Baker) and the New York Premier of THE SEAGULL (Constantine). Others include: NIXON IN
CHINA (Chou En-lai), LOLA RENNT (Manni), THE PICTURE OF DORIAN GRAY (Lord Henry Wotton) and Bernstein’s MASS
(Celebrant). Mr. Ayers has been heard with the Minnesota Orchestra having collaborated with esteemed music director Osmo Vänskä
and acclaimed conductor Andrew Litton. He was most recently seen with the orchestra in DIE ZAUBERFLÖTE (Papageno). He shared
the stage with renowned artists Deborah Voigt, Carl Tanner and Greer Grimsley singing TOSCA (Angelotti), and was also heard at
Sommerfest in the Orchestra’s production of LA BOHEME (Marcello) with James Valenti and Maureen O’Flynn. He has appeared
twice as the Father in their charming holiday production of HANSEL AND GRETEL and lead a “cast of thousands” in Bernstein’s MASS
(Celebrant) to critical acclaim. Mr. Ayers holds degrees from Westminster Choir College (BM) and Manhattan School of Music (MM).
He is recorded on both Albany Records (The Seagull) and Afka labels (as oboist), and has been heard on radio broadcasts throughout
the U.S. and Europe.
Belgian soprano Sophie Junker (Massenet Mélodies Project and Early Music) studied at the IMEP (Institut
Supérieur de Musique et de Pédagogie) in Namur, and at the Guildhall School of Music and Drama in
London. Sophie is a Samling Scholar and winner of the first prize in the 2010 London Handel Competition
and the 2012 International Cesti Competition. Sophie’s operatic repertoire includes Susanna Le Nozze di
Figaro, Olympia Les Contes d’Hoffmann, Marzelline Fidelio, Serpetta La Finta Giardiniera, Despina Cosi fan
tutte, Atalanta Xerxes, Adina L’Elisir d’Amore, Zdenka Arabella and Sophie Werther in scenes, she has also
sung the role of Maria in Bernstein’s West Side Story under the conductor David Miller. In her final year at
the Guildhall she sang the role of Constance in Dialogues des Carmélites and the title role in Donizetti’s
Rita. Operatic roles include Israelite Woman in Handel’s Esther with Laurence Cummings at the Göttingen
Festival, the cover of Almirena Rinaldo for the Glyndebourne Festival, Amour in Orphée et Eurydice and
Constance Dialogues des Carmélites both with Nantes/Angers Opera, Italian Woman in Charpentier’s Médée
for English National Opera, Belinda Dido and Aeneas for the Innsbruck Early Music Festival, Wanda La
Grande Duchesse de Gérolstein at Opéra National de Wallonie, Liège, Amour Orphée et Eurydice in
Moscow, Proserpine La Déscente d’Orphée aux enfers at the Wigmore Hall with Christian Curnyn, Caio Ottone in Villa in
Copenhagen and Euridice in Rameau’s La déscente d’Orphée aux Enfers in Holland with Lionel Meunier. In concert she has appeared
with the “Concorde” orchestra in Mozart’s Coronation Mass, with the Pro Musica orchestra in Handel’s Chandos Anthems, and with
the Handel Consort in Pergolesi’s Stabat Mater, Schumann and Schubert’s recitals for the Oxford Lieder Festival, Bach’s Cantata BWV
201 at King’s College Chapel, Cambridge, Handel and Scarlatti Cantatas for the Innsbruck Festival, Couperin’s Trois Leçons and Mass
in B minor, St Matthew Passion, Bach’s Hunting Cantata with Bach Collegium Japan and Masaaki Suzuki, which was recorded for BIS.
Sophie’s discography include a recording of Charpentier and Carissimi with La Nuova Musica for Harmonia Mundi, Handel’s Esther
with Laurence Cummings at the Göttingen Festival and Bach’s Secular Cantatas with Bach Collegium Japan under Masaaki Suzuki.
Engagements in season 2015/16 include Castor et Pollux with Christian Curnyn in London, Drusilla/Virtu L’incoronazione di Poppea
and Melanto/Fortuna ll Ritorno d’Ulisse in Patria both with the Academy of Ancient Music under Richard Egarr at the Barbican
Centre, in London and Bucharest, a recital at Oxford Lieder with pianist Deirdre Brenner, Cendrillon by Pauline Viardot at Liège
Opera, concerts in Denmark with Concerto Copenhagen, St Matthew Passion with McCreesh in Switzerland, her return to Opera
Lafayette to perform Cleis in Martini’s Sapho and Hélène in Chabrier’s L’éducation manquée in New York and Washington.
Anglo-French mezzo-soprano Emilie Renard (Massenet Mélodies Project and Early Music) is a
graduate of the Royal Scottish Academy of Music and Drama, the Royal College of Music, and is an
alumnus of Les Arts Florissants’ 2013 edition of Le Jardin des Voix. This season Emilie makes her debut
at the Innsbruck Festival as Ersinda Il Germanico in Germania with Alessandro de Marchi and
Academia Montis Regalis. 2015-16 sees her return to Theater an der Wien as Valetto L’Incoronazione di
Poppea with Jean-Christophe Spinosi and Ensemble Matheus; subsequent engagements include
excerpts from Armide and Atys with William Christie & Les Arts Florissants at the Paris Philharmonie
and BOZAR Brussels, and revivals of Robert Carsen’s production of Les Fêtes Vénitiennes at Théatre du
Capitole Toulouse and BAM New York. Emilie made her professional debut in 2012 for English
National Opera in Richard Jones’ Julietta (Little Arab/Errand boy) under Edward Gardner. Recent
highlights include Junon Platée for Theater an der Wien, Zweite Dame Die Zauberflöte for AngersNantes Opéra, Dido Dido and Aeneas for Festival de Thiré, Amore L’Incoronazione di Poppea for
Opera North, and La Folie/Isabelle Les Fêtes Vénitiennes for Opéra Comique. She is a regular artist at
the London Handel Festival, having sung Pulcheria Riccardo Primo and Eurilla Il Pastor Fido under
Laurence Cummings, and Arbace Catone in Utica under Thomas Foster. Other past appearances include
Cherubino Le Nozze di Figaro, title role Djamileh, Despina Cosi Fan Tutte for the Royal College of Music, Sesto La Clemenza di Tito
for Opus Opera, Messaggiera/Speranza L’Orfeo for Silent Opera under Christopher Bucknall, and Hansel Hansel and Gretel for
London Youth Opera. Her many prizes include 1st Prize, the Audience Prize, and the Theater an der Wien Prize at the 2013 Cesti
International Singing Competition for Baroque Opera in Innsbruck; 1er Prix Femme, and Premier Prix Mélodie Française, at the
22ème Concours International de Chant de Marmande; the Audience Prize at the 2011 London Handel Festival Singing Competition;
and the Royal College of Music’s Lies Askonas prize. Emilie enjoys a breadth of concert repertoire, ranging from Vivaldi’s Juditha
Triumphans, with Christian Curnyn/Early Opera Company, (Spitalfields Festival,) and Bach Matthäus-Passion under Laurence
Cummings (London Handel Festival), to Ravel Shéhérazade (Martin André, RCMSO) and Benjamin’s Upon Silence (with Maxim
Pascal/SitFast, Messiaen and Hardelot Festivals). With William Christie and Les Arts Florissants she has performed at the
Concertgebouw Amsterdam, Salle Pleyel Paris, the Lincoln Center New York, Tchaikovsky Hall Moscow, Opéra Royal de Versailles,
and the Auditorio Nacional de Musica Madrid. She has been a Britten-Pears Young Artist, mentored by Roger Vignoles on Wolf and
Strauss Lieder in Aldeburgh. Recent concert highlights also include a recital at Lille Opéra with Les Musiciens du Concert d’Astrée, La
Lucrezia with Jonathan Cohen at Festival de Thiré, and the title role Susanna for Christian Curnyn/Early Opera Company at the
Spitalfields Festival. Emilie’s debut recording, Le Jardin de Monsieur Rameau, is now available on Les Arts Florissants Éditions.
Program Details
Level 1—Pros: Lessons and coaching (pianistic and theatrical) as needed! (Tuition: SEK 15000, singers accepted to this
level based on experience and the audition video)
What are the points to be addressed?
A.
B.
C.
D.
E.
F.
G.
H.
Vocal
Musical Prep
Theatrical/Expression
Text/Languages
Psych: Self-confidence (why not?)
Fitness/Health/Looks (What does not communicate)?
Motivation: What is your daily routine?
Artistic package? Does it have an impact? (Why Not?)
Work with top professionals on every aspect of your package:
Lucie Davienne, Artist Manager: Career Guidance
Meta Powell, Soprano: Vocal Tech and Meditation
Gail Dubinbaum-Massaro, Mezzo: Vocal Tech and Artistry, career guidance
Karin Bengtsdotter-Olsson, Mezzo: Vocal Tech and Artistry
George Shirley, Tenor: Vocal Tech and Artistry, career guidance
Jean-Ronald LaFond, Tenor: Vocal Tech and Artistry, Mental Focus and Career Guidance
Michel Grillo, Baritone: Vocal Tech and Artistry
Daniel Beckwith, Conductor/Pianist: Musical Preparation
John Massaro, Conductor/Pianist: Musical Preparation
Philipp Vogler, Conductor/Pianist: Musical Preparation
Marc Verzatt, Stage Director: Dramatic Coaching
Sylvie Haeverts, Chi-Gong: Muscular Balance and Movement
Sifu Romain, Kung Fu/Tai Chi Master and Life Coach: Physical/Mental Fitness and Life Strategies
————————1.
2.
3.
4.
5.
6.
7.
8.
Pros will chose repertoire they wish to work on in advance
Pros will perform one concert early in the period and one at the end to compare progress
Pros will have daily lessons, masterclasses and coaching with vocal faculty and conductor/pianists
Pros will have one-on-one theatrical sessions with Marc Verzatt
Pros will have small group sessions on fitness, body-balancing and movement
Pros will have group sessions and one-on-one sessions with Dr. LaFond on preparation and mental focus
Pros will have one-on-one session with Sifu Romain on life strategies and small group sessions on physical fitness
Pros will have access to the entire staff for informal and formal talks as each individually need.
——————————————————
Students in Academy Tracks may chose to work on Operatic Repertoire only, Song repertoire only or Both. Early Music
Institute participants will concentrate on repertoire decided by the Early Music Institute’s Faculty.
“COME TO HÄRNÖSAND AND DISCOVER YOUR OPERATIC POTENTIAL”
Program Details
Level 2—Aspiring Pros/Students: Increase awareness of elements (Vocal, Musical, Theatrical, Text/Linguistic, Stamina/
Fitness, Mental focus/Emotional balance, etc…) (Tuition: SEK 10.000, singers accepted to this level based on experience
and the audition video)
What needs particular help?
Vocal Technique: Strength and Balance and flexibility
Musical Preparation (How ready are you to make music with someone else?)
Text Preparation (How well do you know your text, its literal meaning, poetic meaning, inside jokes, meaning in context of
the role?)
Movement—Physical Expression (How naturally do you move? How convincing are your physical gestures? Do they stem
from expressive need or from nervous energy?)
Theatrical—Dramatic Expression (What are your choices?)
Mental Focus (Are you prepared for whatever happens on stage?)
Do you understand the life you are heading towards?
Besides lessons, musical and theatrical coaching, fitness and movement, mental focus work and scene preparation, singers
will have access to our working professionals as well as the entire staff to discuss the “unexpected” joys and perils in the
field.
———————————————————
Level 3—Dedicated Amateurs: Develop fundamental proficiency vocally, musically, theatrically, as well as what is
required to be prepared to work on a scene with colleagues. (Tuition: SEK 10000, singers accepted to this level based on
experience and the audition video)
Amateurs come with different strengths and weaknesses. Not everyone needs the same things but at this level the
fundamentals can be understood more thoroughly. Amateurs will address the following:
How to develop vocal balance and strength (what are the components to balance?)
How to develop physical awareness and presence (It is a skill—What are the elements?)
How to deal with the solo voice in choral and chamber music situations (Reducing loudness without reducing your natural
vocal color)
How to develop better musicianship (Strategies to develop better pitch and rhythmic skills)
Do you understand your relationship to singing? Why this vocation? How well would you like to do this? Have you
thought about your personal goals in singing?
Are you dedicated to develop long term so that you can really enjoy the possibilities of your skills as a singer?
Since you are an amateur and can only dedicate a little time to this, do you have the patience to develop over time or are
you looking for some quick enjoyment?
These are important questions to ask yourself as an amateur!
Subjects include:
Vocal development (Voice Faculty)
Musical Development/Ear Training (Jacquelyn Penfold)
Movement and Theatrical Development (Jacob Lassetter/Anna Niedbala)
Language Diction (Quarta, Davienne, Vogler)
“COME TO HÄRNÖSAND AND DISCOVER YOUR OPERATIC POTENTIAL”
Program Details
Early Music Institute
Early Music Specialization: Develop fundamental proficiency vocally, musically, theatrically, as well as advice on the
professional early music world (Tuition: SEK 15000, singers accepted to this program based on experience and the
audition video)
The fascinating world of early music offers as much excitement as questions. The Academy assembles this year a group of
experts in the field of early music performance and pedagogy to address both scholarship relative to musical practices as
well as shedding light on what is necessary to maintain a healthy voice over the long haul.
Classes will be offered in performance practices including:
Period tuning: 390, 415, 430, 460? There are many levels of tuning depending on composer and period. The 415
standard is only one possibility.
Ornamentation: Understanding ornamentation practices for different periods and countries: Trillo, gruppetto, baroque
trill, ornamenting relative to harmony, etc…
Straight-tone singing and what it means in the greater context of vocal balance
Singing Fast: Speed of fioratura: Why can some do it and some not? Can anyone sing fast?
Falsettists: The training of male singers singing in the traditional female octave (countertenors, haûte-contre and
sopranists). Understanding the anatomy of the range above C5 and how to define falsetto!
Singers who chose to concentrate on early music will work with the Early Music Institute’s faculty on:
Early Monody, Madrigals, Opera and Oratorio, etc…
Faculty include:
Alessandro Quarta, Cembalo: Conductor
Jonas Nordberg, Archlute, repetiteur
Christina Larsson Malmberg, soprano
Zachary Wilder, tenor
Kate Hearn, Baroque Cello and Recorders (Blockflöjte)
Academy Vocal Faculty
Lucie Davienne, Artist-Manager: Career Development
Plus performers: Sophie Junker, soprano; Emilie Renard, mezzo-soprano and Raymond Ayers, baritone.
———————————————————————
“COME TO HÄRNÖSAND AND DISCOVER YOUR OPERATIC POTENTIAL”
Registration Accommodations Fees and Travel
Who should apply: The course is open to 80 singers (30 opera students,/young professionals, 15 professionals, 15
serious amateurs and 20 Early Music students). 6-9 pianists will be selected to further their skills as répétiteurs and
Lied-pianists with our professional high level faculty of keyboard artists. Other than singers, guitarists/lutists,
cembalists, cellists and recorder (blockflöjte) players are welcome to work with the Early Music Institute. Singers at
the Academy may also chose to concentrate their Academy time on concert/song repertoire instead. The average
singer will have opportunities for scene work as well as song repertoire.
Preparation: Singers must be able to read music and able to learn their own notes. It is understood that students will
come with personal and assigned repertoire already learned on the day of arrival. Repertoire will be assigned two
months in advance or as soon as possible after the student has been accepted to the program. Instrumentalists will
have strong technical and sigh-reading proficiencies and will be able to address the demands of the chosen course of
study. Performance opportunities: There will be the opportunity to perform on daily noon-time concerts, master classes
and recitals as well as a final operatic scenes program. Concert locations include locations both on the Kapellsberg
Campus and in the town of Härnösand.
Enjoying Härnösand and the High Coast (Höga Kusten): The Höga Kusten area is idyllic during the summer and
offers many outdoor activities including boat trips, barbecues on the beach all under 24 hour sunlight. In the middle
of summer one can literally read a book to natural daylight throughout the day. The center of Härnösand boasts
excellent cafés and eateries.
Application and Registration: To apply, please visit: http://www.kashudo.com/opera-academy-2016 and follow
directions (application fee: 400 SEK). Once accepted, students will receive information about payment and confirming their
participation in the course.
Application Deadline: 1 June 2016 or until all spots are filled.
Room and Board: Participants reside in student apartments (double occupancy 2600 SEK, or single occupancy 3900 SEK
for 13 nights, 7- 20 August) equipped with kitchen. Students have the option of buying their own food and cooking in their
apartments or may opt for the campus food service (2 meals--Lunch and Supper daily for 2865 SEK (Lunch on 8 August to
Lunch on 20 August. Students typically go out for supper after the final concert on the last day). Breakfast is optional
for 650 SEK. In case of early arrival or late departure, extra nights may be booked for 350 SEK per night (single room) or 250
SEK per night (double room) including breakfast.
Fees: The 2-week Academy costs 10.000 SEK for Amateurs and Developing Professionals/Students and 15.000 SEK for
Professionals and Early Music Institute participants.
Travel to Härnösand: By car or by bus: The E4 travels from south to north through the coastal parts which makes it easy to reach Härnösand by
car or by bus. Daily busses from Stockholm with http://www.ybuss.se. The busses are of a high standard.
By train
http://www.sj.se
By air
Sundsvall-Timrå Airport is at a 20 minutes distance from Härnösand. There are direct flights from Stockholm-Arlanda,
Stockholm-Bromma and Gothenberg-Landvetter Aiports. Those traveling from outside of Sweden should arrive at one of those
main airports and then connect to Sundsvall-Timrå.
Contact: Dr. Jean-Ronald LaFond: kashudosv@gmail.com
Helén Lundqvist-Dahlén: helen.lundquist@hfs.se
“COME TO HÄRNÖSAND AND DISCOVER YOUR OPERATIC POTENTIAL”