report - Winston Churchill Memorial Trust

Transcription

THE WINSTON CHURCHILL MEMORIAL TRUST
OF AUSTRALIA
Report by
CAROLYN WATSON
2012 Churchill Fellow
The Mr and Mrs Gerald Frank New Churchill Fellowship
to undertake a comparative study of operatic and symphonic chorus
performance practice and training methods.
Germany, UK, USA
Declaration
I understand that the Churchill Trust may publish this Report, either in hard copy or on
the internet or both, and consent to such publication.
I indemnify the Churchill Trust against any loss, costs or damages it may suffer arising
out of any claim or proceedings made against the Trust in respect of or arising out of
the publication of any Report submitted to the Trust and which the Trust places on a
website for access over the internet.
I also warrant that my Final Report is original and does not infringe the copyright of
any person, or contain anything which is, or the incorporation of which into the Final
Report is, actionable for defamation, a breach of any privacy law or obligation, breach
of confidence, contempt of court, passing-off or contravention of any other private right
or of any law.
Carolyn Watson
April 25, 2013
Carolyn Watson, 2012 Churchill Fellow
2
Index
Introduction
4
Executive Summary
6
Programme
7
Conducting: An Overview
9
General Introduction
12
Emmerich Kálmán International Conducting Competition, Hungary
14
Staatsoper Hannover, Germany
17
Lund Choral Festival and Conference, Sweden
20
The London Choirs
22
The Metropolitan Opera and Dessoff Choirs, New York
26
Conclusions and Recommendations
30
Bibliography and References
31
3
Introduction
My project, A Comparative Study of Operatic and Symphonic Chorus Training
Methods, was awarded for study in Germany, the UK and the USA. This fellowship
enabled me to spend time studying with and observing conductors, chorus masters,
opera companies, orchestras and choral organisations of excellence. It is an
experience for which I am deeply indebted.
I would like to thank most sincerely the Winston Churchill Memorial Trust for the award
of a 2012 Churchill Fellowship. I would also like to thank Mr and Mrs Gerald Frank
New for their generous support of this particular award.
I am especially grateful to the Trust for allowing me to amend my original itinerary in
order to incorporate attendance at the Choir in Focus: International Conference on the
Concepts and Practices of Choral Singing in Lund, Sweden. This conference, in the
broader context of the Lund International Choral Festival, was a wonderful opportunity
to observe conductors, choirs and choral groups from throughout the world.
Furthermore, the conference provided the opportunity to interact with conductors and
academics working across all aspects of this field. Particular thanks in Lund to
conference convenor Dr Ursula Geisler for her hospitality during this time.
I was fortunate to be able to arrange my Fellowship Study Programme around a
number of other professional development activities abroad, and again I thank the
Trust for their support in this regard. The highlight of these was my participation, and
subsequent selection as a finalist, in the 2012 Emmerich Kálmán Musical-Operetta
Conducting Competition in Hungary. Thanks to Zoltán Sándor in Budapest for his
endless patience regarding travel arrangements, and also to András Szentpéteri and
Petra Klokniczer-Sardi at the Budapesti Operettszínház.
At the Staatsoper Hannover, thanks to Chorus Master Dan Ratiu for giving so freely of
his time. Special and ongoing thanks to General Music Director Karen Kamensek.
At the BBC Symphony Chorus my sincere thanks to Chorus Director Stephen Jackson
and Secretary Ann Taylor, to Artistic Director Neville Creed and the wonderfully
4
welcoming committee of the London Philharmonic Choir, to Associate Conductor Neil
Ferris and Choral Projects Manager Andra East at the London Symphony Chorus and
Music Director David Temple at the Crouch End Festival Chorus. My time in London
observing your rehearsals and speaking with you all was most informative and highly
enjoyable.
In New York, I am particularly grateful to Donald Palumbo, Chorus Master at The
Metropolitan Opera, for rehearsal access and for taking the time to answer a myriad of
questions. Thank you also to the ladies and gentlemen of the Metropolitan Opera
Chorus for their interest and insights. Special thank you to Chris Shepard at Dessoff
Choirs whose support has been instrumental in my development as a conductor.
Special thanks also to Brett Weymark, Artistic Director of Sydney Philharmonia Choirs.
My time as Assistant Chorus Master at Philharmonia in 2011-2012 was the catalyst
and inspiration for this undertaking.
Finally thank you most sincerely to Dr Robert Curry and Jeff Willey at the
Conservatorium High School for their support and willingness to accommodate a
resident conductor's international travel schedule and commitments which during 2012
were not insignificant!
5
Executive Summary
Dr Carolyn Watson, Conductor
1/154 Mallett St
Camperdown
NSW 2050
Tel. 0402 044123
carolyn.watson@sydney.edu.au
Highlights:
•
2012 Emmerich Kálmán Musical-Operetta Conducting Competition, Hungary
Selected from preliminary auditions from over one hundred candidates as one of
12 semifinalists to contest this competition, I was thrilled to be among four selected
to advance to the finals where I was awarded Third Place, the Special Prize of the
Kodály Philharmonic and the Herend Porcelain Manufacturer’s Special Prize.
•
Staatsoper Hannover, Germany, General Music Director: Karen Kamensek
Assisting on symphonic concerts with the Staatsorchester and observing the
rehearsal season of Shostakovich's Lady Macbeth of Mtensk.
•
The Metropolitan Opera, New York, Chorus Master: Donald Palumbo
A one month internship at one of the world's leading opera houses enabled me to
observe most facets of the rehearsal, production and performance processes.
Major lessons and conclusions:
•
that a period of study observing leading conductors is integral to the
development of a conductor
•
that working with voices must form a fundamental component of a conductor's
education, training and experience
•
that opportunities for the training and professional development of choral
conductors and chorus masters be strengthened
Dissemination and Implementation:
•
via my website, carolyn-watson.com
•
via various media profiles, presentations, interviews and written articles
•
through my work as a freelance conductor
•
through my position as Conductor-in-Residence at the Conservatorium High
School
•
through my work as an academic lecturer at Sydney Conservatorium of Music
6
Programme
September 20-24 2012, Hungary
Emmerich Kálmán International Conducting Competition
Budapest Operetta Theatre
1065 Budapest
Nagymezö utca 17
Hungary
September 25-October 14, Germany
Staatsoper Hannover
General Music Director: Karen Kamensek
Choir Master: Dan Ratiu
Opernplatz 1
Hannover 30159
Germany
October 15-21, Sweden
Lund Choral Festival and Conference
Department of Arts and Cultural Sciences
Lund University
Biskopsgatan 7
Sweden
October 23-28, Hungary
Budapest Operetta Theatre
1065 Budapest
Nagymezö utca 17
Hungary
November 3-December 18, Italy
Intensive Italian Studies
Language in Italy
Via Aurelia, 137
00165 Rome
7
January 7-21 2013, UK
BBC Symphony Chorus
Chorus Director: Stephen Jackson
BBC Maida Vale Studios
120-129 Delaware Rd
London W9 2LG
London Philharmonic Choir
Artistic Director: Neville Creed
Bishopsgate Institute
230 Bishopsgate
London EC2M 4QH
London Symphony Chorus
Chorus Director: Simon Halsey
Associate Conductor: Neil Ferris
c/ London Symphony Orchestra
The Barbican Centre
Silk Street
City of London
EC2Y 8DS
Crouch End Festival Chorus
Musical Director: David Temple
46 Ulleswater Road
London N14 7BS
January 28-February 17, USA
The Metropolitan Opera
Chorus Master: Donald Palumbo
The New York Philharmonic
Music Director: Alan Gilbert
Lincoln Center Plaza
New York, NY 10023
Dessoff Choirs
Music Director: Chris Shepard
P.O. Box 1337
New York, NY 10028-0010
8
Conducting: An Overview
A straightforward and generalist description of conducting has been offered by
Scherchen who described conducting as ‘contact between human beings.’1 Put
simply, conducting is communication – communicating the music, communicating with
the musicians and communicating with the audience. Indeed a conductor’s ability to
communicate is central to his or her task and good communication has been labelled
the key to success.2 Maiello explains,
the conductor is the communicator, inspiration and overseer of the musical
message; the conveyor of the composer’s intent, and the courier of the music being
sent to the listener via the performance. This sense of communication is what makes
the musical experience something that transcends the written word.3
Today’s professional orchestral conductors occupy a role primarily focussed on
communicating the expressive and interpretative aspects of the music they perform.
This current role has evolved from the conductor’s original function – ostensibly one
that was predominantly responsible for establishing tempo and maintaining a rhythmic
pulse. It was during the nineteenth century this evolution occurred – larger, longer and
more involved, complicated repertoire necessitated increased conductor involvement
through which the role developed.
The tradition of choral conducting, however, is a significantly older one. The
evolution of increasingly complex sacred polyphonic vocal music during the medieval
and Renaissance periods necessitated some form of direction. Most often, direction
was provided by the head chorister who often doubled as choir director, conveying
intent using hand signals, sometimes using a rolled up piece of paper to beat time.
Both choral and instrumental conductors employ the same standardised timebeating patterns which have changed little since their codification during the
eighteenth century. Using these accepted and internationally recognised time-beating
signals as a basis, a conductor develops and forms his own set of idiosyncratic
gestures which are used to communicate with musicians. These gestures form the
basic communicative vocabulary of a conductor.
1
Hermann Scherchen, Handbook of Conducting (Oxford, Oxford University Press, 1989), 188.
Diane Wittry, Beyond the Baton (New York, Oxford University Press, 2007), 141.
3
Anthony Maiello, Conducting, A Hands-On Approach (Belwin-Mills Publishing Corp., 1996), 7.
2
9
The conductor’s hands are therefore the primary vehicle of communication – it
is via this repertory of manual gestures a conductor demonstrates the basic functions
of indicating tempo, any modifications thereof, and dynamics. Through his hands, a
conductor also shapes phrases and shows articulation as well as the type of sound he
has in mind. The majority of orchestral conductors use a baton; the majority of choral
conductors do not, preferring to shape the sound with their hands alone.
These manual gestures, however, are not the only means by which a conductor
communicates. In addition to these gestures, a conductor’s communicative capacity is
significantly enhanced by other means of nonverbal communication. Intent is also
relayed by body language, general posture and appearance alongside facial
expressions and eye contact. As the function of the conductor has developed into a
more interpretative one, these aspects of the conductor’s art have assumed a
heightened degree of importance.
The fundamental technical elements of conducting are the same for student
conductors, conductors of amateur groups, conductors of school and university
ensembles as well as those who work in the professional domain. The tools a
professional conductor uses to communicate therefore share this common basis. For
conductors of professional ensembles however, these basics are assumed
knowledge, prerequisites which are taken for granted.
The function of the professional conductor has a different purpose, an
additional dimension focussed on a more elevated plane – a largely artistic,
interpretative and expressive responsibility. As Kohut and Grant recognise ‘at its
highest level conducting is an art.‘4 In this context, the subtleties of gestural
communication are inherently important. Nuances of facial expression and eye contact
can reflect character, mood and emotional content. Manual gestures are more refined
and able to demonstrate detail corresponding to an array of articulation, variety and
colour of sound, a multiplicity of dynamic shadings and gradations, and the intricacies
of phrasing. Combined with body movement and involvement, these gestures are also
able to reflect and communicate an understanding of the overall architecture of a
work.
General body posture and stance can communicate an air of authority and
confidence – important aspects in conducting. Leadership and the power of
personality are also critical factors – as in all facets of life the ability to inspire counts
4
Daniel J. Kohut and Joe W. Grant, Learning to Conduct and Rehearse (Englewood Cliffs, Prentice
Hall, 1990), 2.
10
for much. As Bowles explains ‘much of a conductor’s effectiveness depends on his
personal characteristics and on his capacity to persuade others of his will.’5 One
responsibility of a conductor is to unite the ensemble towards a common artistic
interpretation and to inspire them towards this collective goal – something that
demands an ability to exert influence over some one hundred or so potential differing
opinions.
The information musicians glean from conductors is thus not limited to, nor
expressed via purely manual technical conducting gestures. Rather, a conductor uses
a variety of communicative tools in addition to his hands. The art of conducting is
therefore a composite one – an amalgam of various forms of physical movement and
posture, facial expressions and manual conducting gestures, all of which are framed
by the personality of the individual. As such, there is a great deal of value and much to
be learned by observing experienced conductors in rehearsal and performance and
indeed, such study is a vital component in the development of any young conductor.
That conducting is such a personalised and idiosyncratic art means there is
often any number of effective ways to communicate the same basic information. To be
able to observe a variety of conductors and their approaches is an essential ingredient
in developing one's own personal conducting style. Undertaking such study in a
variety of musical environments – symphonic, operatic, choral – is also an important
aspect for more often than not, context is a defining factor. For instance the gestures
to which a professional orchestra respond will likely be lost on a student ensemble and
explanations required by amateur musicians will leave most professionals bored or
perhaps worse, feeling patronised.
Over the course of my conducting studies and career I have been fortunate to
study, observe and work with a number of exceptional orchestral and operatic
conductors. This Churchill Fellowship enabled me to engage in similar experiences in
the choral domain, as well as facilitating my continued development as an orchestral
and operatic conductor. In addition to the approved study programme I was able to
extend my Fellowship in order to undertake a number of other relevant professional
activities. These included participation in the 2012 Kálmán Conducting Competition in
Hungary, advanced Italian language studies in Rome, Italy, and the opportunity to visit
the Indiana University Jacobs School of Music in Bloomington, Indiana, to where I had
been invited as a guest lecturer and presenter.
5
Michael Bowles, The Art of Conducting (New York, Da Capo Press, 1975), 15.
11
General Introduction
Renowned Hungarian conductor Sir Geog Solti is reported to have said 'singing is the
basis of all music making.'6 As an orchestral violinist and conductor, choral training
and singing did not form the focus of my own musical education – I grew up playing in
orchestras rather than singing in choirs. As I have developed as a musician and
particularly as a conductor I have become increasingly aware of the fundamental
importance of the voice and its role in both music and music education. Indeed, as a
vehicle for music education there is no instrument more perfectly suited than the
human voice, a fact recognised by pioneering music educator Zoltán Kodály (18821967) whose vocally-based Kodály Method is among the foremost approaches to
music pedagogy today.
In fact, it was my time as a student at the Kodály Institute in Hungary which first
highlighted my own vocal shortcomings. An orchestral violinist with a hideous singing
voice, I was the proverbial fish out of water in this environment where the majority of
my colleagues had fine voices and a great deal of choral experience. 'Hideous'
perhaps verges on the extreme side as a descriptor however it always seemed much
easier to laugh up my lack of singing experience – and therefore confidence regarding
my ability – than it was to actually address the issue.
Not until I studied at the Kodály Institute did I become fully aware of the
limitations of my previous training and experience and in particular, the virtual absence
of singing and/or any form of vocal expression. And so began my very belated
association with singing, one which has continued to grow and strengthen over the
course of my career as a conductor and music educator.
As a conductor, there should be no limit to the breadth of one's musical
experiences. My desire to gain experience as a conductor of voices led me to delve
into the choral domain, it being also the principal reason behind my application for a
Churchill Fellowship.
Broadly speaking, conductors can be categorised according to the ensembles
they conduct – we speak, for example, of orchestral conductors, opera conductors and
choral conductors. There are also conductors of concert bands, leaders of jazz
combos, drum majors of marching bands as well as directors of folk ensembles,
6
José Antonio Bowen (Ed.), The Cambridge Guide to Conducting, (Cambridge, Cambridge University
Press, 2003), 45.
12
gamelan orchestras and other non-western musical ensembles. Within the
subcategory of choral conductors, there exists a great deal of variety. Choral directors
can include those who conduct liturgical music for mass, glee club directors, chorus
masters and conductors of youth, school and community choirs.
The focus of this Churchill Fellowship is the broader category of choral
conductors, and in particular chorus masters, that is, those who work with and train
choruses. Specifically, I was interested in looking at how symphonic choruses and
operatic choruses operate – the similarities and differences between the two genres.
An opera chorus for instance, typically comprises professionally trained singers whose
full time job it is to sing with the opera company. A symphonic chorus on the other
hand, generally consists predominantly of amateur musicians, some of whom may not
necessarily be able to read music.
In both the operatic and symphonic sphere, the conductor engaged for the
performance typically assumes responsibility for the chorus after the majority of the
work has been done. Choruses are generally taught, coached and rehearsed by the
chorus master whose primary task is the preparation of the chorus for the conductor.
The conductor then, is tasked with completing the rehearsal period – of perfecting and
polishing the group for performance. In order to undertake this task effectively
therefore, the conductor needs to possess an understanding of the various chorus
contexts. As an orchestral and opera conductor myself, I am primarily interested in the
means and methods of training and working with choruses – the process an ensemble
has undergone in preparation for a performance I am conducting, or, if engaged to
prepare a chorus for another conductor, the tools and techniques I will employ in the
process of such preparation.
13
Budapest, Hungary
The Emmerich Kálmán International Operetta-Musical Conducting Competition is
named in honour of Emmerich (Imre) Kálmán (1882-1953), a composer of operettas
largely credited with popularising the genre in Hungary. Scheduled to coincide with
Kálmán's 130th anniversary, 2012 was the second occasion on which the event has
been held.
The host organisation of the competition, the Budapest Operetta Theatre, is
one of Europe's most successful operetta theatres. It operates seven days a week to
capacity audiences who enjoy a varied programme of operettas, musicals, concerts
and competition events such as this one. The theatre was the venue for all rounds of
the competition with the semifinals and finals broadcast on national television.
The Budapest Operetta Theatre audience and judging panel during the 2012 Kálmán Conducting
Competition
From preliminary auditions throughout the US and Europe, twelve semifinalists
were selected of which I was one. In order to accommodate the broadcasting
arrangement with Duna Television, the finals of the competition were scheduled
approximately a month after the semi-finals. Selected as one of the four finalists, it
14
was fortuitous my Churchill itinerary saw me Europe-based for the interim weeks
facilitating return travel to Hungary for the finals.
The format for the semifinals and the finals was identical in that each conductor
was required to conduct three rounds comprising respectively solo, duet and
ensemble repertoire. Repertoire included in the competition ranged from Johann
Strauss and late nineteenth century operetta composers to contemporary works of
European and American music theatre.
The Kálmán Competition was a tremendous experience for a number of
reasons. Being able to compete against peers at an international level was both a thrill
and a challenge. Furthermore, the chance to focus exclusively on operetta and
musical theatre repertoire is not one I have had previously. The competition, via my
preparation, active participation and through observing the work of my fellow
competitors, resulted in the assimilation of an extensive amount of previously
unfamiliar repertoire. That all repertoire was sung in the vernacular presented an
additional dimension - I was fortunate to have studied in Hungary during the late
1990s and so was able to contextualise this aspect of my work to an extent.
Conducting the Budapest Operetta Orchestra during the 2012 Kálmán Competition
15
In contrast to the rest of my Churchill Study Programme which largely
comprised meetings, discussions, rehearsal observation and musical assisting, the
Kálmán Competition resulted in the opportunity to work directly with the orchestra,
soloists and chorus of the Budapest Operetta Theatre. As any young conductor
knows, there is no substitute for practical experience. In addition to learning new
repertoire I also gained idiosyncratic stylistic knowledge regarding the performing
traditions of Hungarian operetta – something I would not have been able to do
elsewhere.
With the winners of the competition and Yvonne Kálmán, the composer's granddaughter.
I was placed equal Third in the 2012 Kálmán Conducting Competition, also
receiving the Special Prize of the Kodály Philharmonic and the Herend Porcelain
Manufacturer’s Special Prize. I will return to Hungary in the forthcoming season to
conduct concerts and engagements associated with the competition win.
16
Staatsoper Hannover
Germany
The Staatsoper (State Opera) Hannover is one of Germany's leading opera houses.
The existing theatre, badly damaged during the war and subsequently restored, dates
from 1842. The current Music Director is Karen Kamensek and the Chorus Master is
Dan Ratiu. Classed as an 'A house', the category reserved for Germany's premiere
opera companies, the Staatsoper Hannover is indicative of a leading German opera
house. As such, the conditions and regulations governing the chorus can reasonably
be assumed to be in line with that of other similar houses.
The chorus of the Staatsoper Hannover numbers between 55-65 full time
salaried singers – in larger German houses the size of the chorus may be as great as
90. Chorus members are not required to work a minimum number of hours or sing a
minimum number of performances each week, however three performances within a
30 hour working week is cited as typical. Chorus members enjoy 45 days annual
holiday.
The working conditions of the chorus are closely monitored and there exist
union regulations regarding work hours. Specifically, rules require a minimum of four
hours between rehearsal calls, and a minimum of five hours between a rehearsal call
and a performance. Working weeks are limited to six days. Such limitations are
presumably in place in order to ensure the longevity and vocal health of the singer.
With contracts generally renewed annually, it is not uncommon for chorus members to
remain with an opera chorus for thirty plus years.
The demands on chorus members are not limited specifically to opera. They
also perform choral/symphonic repertoire in concerts and present musical theatre
productions. Particularly in this latter genre, in addition to singing, chorus members
are often required to perform as dancers as well.
The duties of a chorus master in a German opera house are thus multidimensional. Of primary importance is preparing the ensemble for performance – a
challenging task given the large number of different productions often running
concurrently. Typically a production will be rehearsed in preparation for its premiere
season – when revived the following year for example, there may only be one or two
rehearsals before performances. Such instances may present challenges for operatic
choruses whose task it is to remember music they may not have sung for months.
17
Central to the task of the operatic chorus master then, is his ability to ensure
choristers learn their part by memory. All opera singers, soloists and ensemble
members, perform from memory. Considering the length and extreme complexity of
much of the standard operatic repertoire, this requirement cannot be understated.
Singing and performing from memory sets aside opera choruses from symphonic
choruses and indeed, opera singers from orchestral musicians in general who read
from music during performance.
Interestingly
however,
while
Staatsoper
chorus
master
Dan
Ratiu
acknowledges the centrality of performing from memory, this aim rarely forms the
focus of his approach. Rather, it is a by-product of the rehearsal process. Rehearsals
are concentrated predominantly on repertoire learning and musical preparation.
It is reasonable to assume that the more experienced and practised operatic
chorus members become, the greater their facility for learning repertoire from memory.
Standard and popular repertoire is repeated and cycled regularly – the frequency
varying depending on the house – however it is highly likely that over the course of a
career in an opera house such works would be performed numerous times. As a result
it is probable an increasing number of works become a permanent part of a chorus
singer's memorised repertory.
The major production being rehearsed was Shostakovich's Lady Macbeth of
Mtensk, an opera which involves a relatively large chorus part, and one significantly
more involved than the majority of the standard repertoire. Not only is there much for
the chorus to sing, the harmonic vocabulary at times flirts with atonality and being in
Russian, the work presents an additional dimension when contrasted with repertoire in
the more typical operatic languages of French, German or Italian. As a result, this was
an ideal production via which to study the chorus. A brilliant work of musical theatre,
the opera was for a long time perhaps best known for its political significance – Lady
Macbeth was the catalyst for Stalin's denunciation and subsequent persecution of
Shostakovich and his music.
In general, one of the challenges of conducting operatic productions is
maintaining ensemble between the orchestra in the pit and the singers on stage.
Particularly in chorus scenes involving a large number of singers who are
simultaneously acting and/or dancing, ensemble is an element the conductor must
constantly monitor. In a work of Lady Macbeth's complexity, this aspect assumes a
heightened degree of prominence. The violent second scene of the opera, for
18
instance, depicts a gang rape scene with the entire male chorus the protagonists.
Dramatic intent must then be balanced with musical considerations in order to develop
a staging which will enable the chorus to achieve their musical objectives.
The period I spent at the Staatsoper Hannover was valuable for a number of
reasons. In addition to observing chorus rehearsals, I was also party to orchestral,
ensemble and production rehearsals. The orchestra of the Staatsoper, the
Staatsorchester, presents an annual season of symphonic concerts alongside their
operatic engagements. Such an arrangement is not uncommon in Europe – perhaps
the best-known example is the Vienna Philharmonic Orchestra whose players also
form the resident ensemble of the Vienna State Opera.
While I was there the orchestra prepared and presented the Gala Opening
Concert of the 2012 Joseph Joachim International Violin Competition. The programme
for this concert was:
Montsalvatge
Desintegracion Morfologica de la Chacona de J.S. Bach
Saint-Saëns
Violin Concerto No. 3
Brahms
Symphony No. 2
This event offered the opportunity to observe the orchestra in a symphonic setting, a
very different environment to their more typical operatic one. Performing in the hall of
the NDR Radiophilharmonie, a venue with which the orchestra is relatively unfamiliar,
also meant that my role as assistant was arguably more important, particularly in
matters regarding listening for, and offering feedback on orchestral balance.
The concert programme itself served as an additional avenue for learning in
that I was not familiar with the work of, or the composer, Montsalvage. Having
conducted the same Saint-Saëns violin concerto with a youth orchestra in the days
before leaving for Europe, this was a welcome opportunity to experience the work as
interpreted by professionals. Similarly, I benefitted from observing conductor Karen
Kamensek's approach to Brahms' Symphony No. 2, a work with which I am well
familiar. Kamensek, a highly astute conductor with a commanding technique is also
one who possesses a remarkable degree of musical insight. The result is a superior
communicator – a conductor whose clear gestural language is an accurate reflection
of the score's musical content.
19
Lund Choral Festival and Conference
Sweden
Established in 2006, the biennial Lund Choral Festival has rapidly established itself as
a premiere international choral event. Featuring a selection of local choirs, the Festival
also attracts premiere choirs and vocal ensembles from throughout the world for this
weeklong event, the details of which can be found here:
http://www.lundchoralfestival.org/in-english/
Concurrently, the Department of Arts and Cultural Sciences at Lund University
hosted the 2012 International Conference on the Concepts and Practices of Choral
Singing. The conference articulates its objectives as follows:
In order to make visible and available the contemporary dynamic development of
choral research, this conference aims at encouraging communication between theory
and practice. With the integration of the conference into Lund Choral Festival, the
purpose is to highlight interdisciplinary investigations and interaction between
practice-based and historical approaches in choral research. Researching choir
culture demands and encourages a multitude of research strategies in different
disciplines.
The papers focus the interaction of choral concepts and practices since the 18th
century, especially on the following themes:
1. Conceptualisations of Choral Practices and Musics,
2. Theories and Methods of Choral Research
3. Psychological and Social Dimensions of Choral Singing7
As such, the Lund Choral Festival and Conference was an opportunity to
experience choral singing of excellence, as well as to study the most current
innovations in academic research pertaining to the area. In practical terms regarding
my work as a conductor, the opportunity to observe rehearsals and performances of a
variety of choral ensembles and conductors from a diversity of backgrounds, nations
and choral traditions was particularly valuable.
7
http://edit.info.lu.se/upload/Kulturvetenskaper/dokument/ChoralConference_Programme_Abstracts.pdf,
accessed April 23, 2013.
20
The papers presented at the conference represented a multiplicity of
considerations relating to choral singing and training. Presentations pertaining to
working with students, children and youth choirs were particularly valuable and
relevant to my current work at the Conservatorium High School in Sydney where as
Conductor-in-Residence I regularly conduct orchestral/choral repertoire, assuming
responsibility for the choir after they have been prepared by the chorus master.
Sessions on choral literature and repertoire were also beneficial – being from an
orchestral background, this area does not form part of my general musical experience.
Perhaps the most useful aspect, however, was the chance to speak with conductors,
researchers and practitioners, all of whose area of expertise was in choral music.
A summary of the abstracts of papers presented at the conference can be
found here:
http://edit.info.lu.se/upload/Kulturvetenskaper/dokument/ChoralConference_Program
me_Abstracts.pdf8
8
accessed April 23, 2013.
21
The London Choirs
UK
In London I observed the London Symphony Chorus, BBC Symphony Chorus, London
Philharmonic Choir and Crouch End Festival Chorus – four premiere choral
ensembles. That four symphonic choruses of this size and calibre exist side by side is
indicative of a city where demand and opportunities for music performance is high.
London can therefore lay claim to a healthy choral scene. Indeed, it is a city with a
vivid and varied musical and cultural life so it is little surprise that choirs and in
particular, symphonic choruses, are an important aspect.
The BBC Symphony Chorus, London Philharmonic Choir and the London
Symphony Chorus operate in a similar manner. The BBCSC is managed by the same
team that run the BBC Symphony Orchestra and a dedicated chorus administrator is
provided. The London Symphony Orchestra too has recently inaugurated a Choral
Projects Manager position. The London Philharmonic Choir ostensibly relies largely on
their members, who are volunteers, to co-ordinate and manage many of the
administrative matters pertaining to the group. The BBCSC and the LSC also have
similar volunteer committees drawn from within their ranks who are active in the dayto-day running of the organisations.
The BBCSC, LPC and LSC average around 120 members, all of whom are
voluntary, i.e. non-paid members of the ensemble. Membership is open to all subject
to audition and contingent on attendance at rehearsals as stipulated by the
organisation's own policy. There is no annual membership fee associated with singing
in the BBCSC, the LSC or the LPC.9 Members are generally required to attend twiceweekly evening rehearsals. For membership of the BBCSC, the LPC and the LSC,
singing lessons are not a requirement but are generally encouraged.
While the general set-up of the three choruses is similar there are, however,
operational differences. The BBC Symphony Orchestra supports the Symphony
Chorus by providing a permanent rehearsal venue for the group at the organisation's
Maida Vale Studios – something that sets the BBC Symphony Chorus apart. The
BBCSC employs chorus master Stephen Jackson and a professional accompanist on
a per-service basis. A vocal coach is also available (free, though to a limited extent) to
9
The LPC, however, does request a one-off initial subscription of £25 which covers the cost of a
Welcome Pack including music folder etc.
22
members on a private lesson basis during rehearsals – either at the encouragement of
the chorus master or individual desire.
Being associated with a radio orchestra, it is little surprise the BBC Symphony
Chorus is often called on as a recording ensemble. In the time I spent with the chorus
I observed recording sessions of Szymanowski choral works with Edward Gardner
and the BBC Symphony Orchestra, a disc which will soon be released on the
Chandos label.
In line with the LPC and LSC, the group generally rehearses twice a week
although individual recording and performance engagements necessitate increased
involvement. The BBCSC includes a relatively high number of trained musicians,
possibly due in part to Jackson's requirement that all members be fluent music
readers, with sight-reading an audition requirement. He explains that the difficulty of
the repertoire – the Szymanowski is perhaps a good example – brief rehearsal periods
and a relatively large number of concert programmes dictate this degree of musical
proficiency.
A similar non-negotiable approach to music reading is taken by Neville Creed,
chorus master of the London Philharmonic Choir. Creed explains the London
Philharmonic Choir audition requirements as follows:
The London Philharmonic Choir (LPC) is one of the top symphony choruses in the
country and seeks to recruit singers of the highest standard to perform a wide-ranging
repertoire alongside the London Philharmonic Orchestra and other major orchestras,
both at home and abroad. Entry to the choir is by means of an audition and singers are
re-auditioned at three or one-yearly intervals, depending on the outcome of the audition.
Re-auditions are carried out in the same way as initial auditions. Those who are asked
to re-audition after one year are given helpful advice about areas needing attention and
this is followed up at the next audition.
The audition consists of three main elements:
•
Vocal quality and agility - The audition begins with warm-up phrases (triads,
arpeggios, scale passages). This determines the singer’s ability to sing in tune and
demonstrates the quality of tone.
•
Aural perception - A few short phrases are given for repetition and you are asked
to sing individual notes from a three-note chord. The ability to reproduce accurately
phrases with awkward intervals is required.
•
Sight-reading - A short anthem (in English or Latin) is presented for sight-reading.
The anthem is in a straight-forward, sixteenth century polyphonic style. The singer is
expected to sing the appropriate line while the other parts are played on the piano.
Confidence and clear musical understanding is needed rather than perfection.
23
Preparing for Your Audition
You need to prepare for your audition both mentally and physically. Please arrive for
auditions when you are in good health and well prepared. Auditioning when you are not
in good health does not allow you to perform to your best ability, and if you are feeling
under the weather you should postpone a planned audition until you are feeling better.
There are some additional things that you can do in preparation for your audition. For
example, it is always extremely helpful to take singing lessons, even if time constraints
or other resources prevent you from taking regular lessons, a few before an audition
often pays dividends. If that is not possible, ask someone knowledgeable, perhaps a
friend, to listen to you singing and ask for critical comment. You may like to try and work
through an ‘improve your sight- reading’ book. If you have little previous singing
experience, you may also like to consider gaining some experience singing in a smaller
choir before applying for an LPC audition.
The London Philharmonic Choir has the privilege of working with some of the world’s
leading musicians and I make no apology for demanding high standards from the choir
which aims to be a worthy partner in performing at the highest level.10
Like the BBCSC, the LPC employs only a professional accompanist and the
music director. The LSC also differs slightly to the BBCSC and the LPC in that in
addition to music director Simon Halsey, it employs two associate conductors who
also assume a degree of responsibility for music preparation. I enjoyed observing the
work of one of these associates, Neil Ferris, during my time in London. Ferris, like
myself, trained as a violinist so it was particularly interesting speaking with him
regarding his career path into the world of choral music.
The Crouch End Festival Chorus has evolved under entirely different
circumstances. Formed some thirty years ago as a community choir, the CEFC has
risen to be an important part of the London symphony chorus scene. The brainchild of
Music Director David Temple, the CEFC is a self-supporting choir whose income is
largely derived from concert and recording engagements, its members also
contributing to the running costs of the organisation.
In contrast to the BBCSC, LSC and LPC, the CEFC presents a greater variety
of non-classical repertoire and is particularly active as a studio chorus, often recording
with major popular artists. Music Director David Temple has created an eclectic
ensemble with membership more contingent on the quality and potential of one's voice
rather than on musical training and/or knowledge. Temple, for instance, feels strongly
that singers should not be denied membership if they are unable to read music,
something he himself learned at a later age.
10
From the London Philharmonic Chorus website, Preparing for Auditions,
http://www.lpc.org.uk/pdf/111118_Preparing_for_LPC_Auditions.pdf, accessed April 25 2013.
24
The standard of singing, also of general musicianship in these London
symphonic choruses, is generally very high. None of the chorus directors observed
subscribed to any particular methodology of choir and/or vocal training or pedagogy,
although all were familiar with the various schools of thought, texts and approaches.
Rather, their approach to working with the chorus was derived from their own musical
experience.
25
The Metropolitan Opera
The Dessoff Choirs
New York, USA
The month I spent in New York was in many ways the highlight of my Churchill
Fellowship. Like London, it is a city with a vibrant cultural scene and the sheer number
of concerts, events, arts organisations, universities, galleries and museums are
reason enough to visit.
The focus of my period in New York was an internship at The Metropolitan
Opera where I was fortunate to observe the work of Chorus Master Donald Palumbo,
generally acknowledged as the world's leading chorus master.11 It is little surprise then
that the chorus of The Metropolitan Opera are among the world's leading opera
choruses. They are also one of the most hardworking – the schedule for The Met
Chorus is more intense than any I have experienced. Three call days are the norm
and seven-day working weeks are also not unusual. For this workload however, the
chorus are well very remunerated, enjoying some of the highest salaries the
profession has to offer, comprising a base salary plus additional rates for
performances, additional rehearsals etc. The Met Opera Chorus explains on their
website:
The full time Metropolitan Opera Chorus consists of 80 voices and the extra chorus
can add up to 70 more. The largest chorus opera we currently perform is Meistersinger
which is cast with 165 choristers.
During the opera season, the chorus may perform up to seven performances a week
(two operas on Saturday). During the week both staging and musical rehearsals take
place, starting typically around 11 AM and ending as late as 6 PM before an evening
performance.
Between 400 and 600 singers audition for the chorus each year for a limited number of
openings. Good qualities in a chorus singer are reliability, punctuality, vocal talent,
linguistic ability, and a good memory. The Chorus are proud members of AGMA, the
American Guild of Musical Artists. It is thanks to AGMA and the hard negotiating of the
chorus committee that the chorus works under an excellent contract with the best
chorus salaries and benefits in the U.S.12
11
12
http://www.operanews.com/operanews/news/pressrelease.aspx?id=1288, accessed April 30 2013
http://metoperachorus.com/, accessed April 30 2013
26
The enormous volume and variety of repertoire necessitates chorus rehearsals
be efficient and highly productive. Palumbo's musical rehearsals were infinitely
detailed and the results were obvious and immediate in the staging and dress
rehearsals and performances I observed. He has an ear for sound, an element that
was continually in evidence as he monitored subtle aspects of tone quality, dynamics,
balance, blend and vibrato. Chorus material from some three different operas was
often rehearsed in a single session – the opera performed that evening would be yet
another still. In such an environment, the ability to learn a large amount of music under
time constraints and pressure is clearly a prerequisite. As an indication, in my time at
The Met I observed chorus and/or combined rehearsals of:
•
Gounod Faust
•
Verdi Don Carlo
•
Verdi La Traviata
•
Wagner Parsifal
•
Zandonai Francesca da Rimini
During this same rehearsal period, works presented for performances were:
•
Bizet Carmen
•
Donizetti L'Elisir d'Amore
•
Verdi Rigoletto
•
Rossini Le Comte Ory
Donald Palumbo arrived at the Met in 2007 from Chicago Lyric Opera and since
then has been credited with significantly improving the standard of the chorus. Already
a fine opera chorus, Palumbo's insistence on uncompromisingly high standards has
taken the ensemble to the next level. His manner working with the chorus is a delight
to observe – requests are cleverly peppered with witty asides and a dry sense of
humour. Particularly given the demands and intensity of the working environment,
humour is a useful tool in guaranteeing rehearsal success.
Just as New York's professional music scene ranks as one of the foremost
internationally, avenues for amateur music making and singing are also especially
rich. New York's Dessoff Choirs are an example of a premiere US symphonic chorus.
27
Like Sydney Philharmonia Choirs in Australia, Dessoff presents an eclectic
programme which comprises independent choral projects and collaborations with
orchestras, solo artists and other choirs. Like the London choruses, Dessoff is open to
anyone subject to audition requirements. The organisation itself explains their unique
philosophy:
The Dessoff Choirs has always attracted a very special type of choral amateur:
individuals who are not only dedicated lovers of music, but who also have sufficiently
deep musical training and involvement to explore and discover for themselves the
beauties of mostly unknown musical masterpieces, and to apply themselves to the
point of performing and communicating these works for the benefit of the public in
concert halls and through recordings. Aside from the common spirit of musical
involvement, enthusiasm, and dedication to the choral art form, individual members of
the chorus have a wide variety of backgrounds and encompass a wide diversity of
national origins, age groups, and educational and professional training. Thus, the kinds
of music that Dessoff has performed, published, and recorded, and the kinds of
amateurs that have been drawn into the membership, have provided the organization’s
unique quality.
It is The Dessoff Choirs’ philosophy that the perspective, maturity, and health of any
society is dependent to a great extent not only on the involvement of its members in
the pleasures of the mind and their participation in those activities which enrich and
ennoble their lives, but in the providing of ways to do so. Thus, we believe that The
Dessoff Choirs’ performance of hitherto unknown music, and its decades of service to
the musical needs of New Yorkers as singers and New Yorkers as listeners, has made
a significant contribution to the cultural enlightenment of New York and indeed, the
whole country.13
I was fortunate to observe the work of chorus director Christopher Shepard on
a number of projects the choir was working on. I first made Dessoff's acquaintance at
their annual midwinter 'sing-in' – an event open to the community, whereby interested
singers can join with the choir for a rehearsal session. In addition to promoting the
work of the chorus and involving the local community, this event also serves as a
wonderful avenue for publicity and potential recruitment as many of those who come
along to the sing-in elect to audition for the choir. On this occasion the event
comprised music by Randall Thompson and Ralph Vaughan Williams.
During my time in New York, the project being rehearsed was the Choir's
Midwinter Festival, 'Wordplay.' As the title would suggest this project centered on the
relationship between music and text that is so central to all choral and vocal music. I
also enjoyed the opportunity to rehearse the choir in Moravec's Songs of Love and
War.
13
http://dessoff.org/wp/about-dessoff/history/, accessed April 30 2013
28
New York's embarrassment of musical riches meant I was able to supplement
my period at The Met and with Dessoff with a number of other valuable professional
activities. I spent time with the New York Philharmonic Orchestra where I observed
rehearsals and performances of Music Director Alan Gilbert and renowned visiting
guest conductor Christoph von Dohnányi. I also had the chance to meet with and get
to know the New York Philharmonic's Leonard Bernstein Scholar-in-Residence,
Harvey Sachs, with whom I began corresponding in 2011, prompted initially by my
doctoral research. Additionally I observed rehearsals at the nearby Julliard School of
Music where conductor Marin Alsop was working with the school orchestra on a
programme of symphonic repertoire by Corigliano.
29
Conclusions and Recommendations
This Fellowship confirmed and strengthened my conviction regarding the value of a
period of study such as the one I undertook. The opportunity to observe leading
conductors, choruses, orchestras and opera companies is an education in itself. To be
exposed to a variety of approaches to musical interpretation, playing and singing
techniques and modes of rehearsing highlights a variety of potential possibilities which
hitherto may not have come into consideration.
Interestingly, the chorus masters' approach to working with symphonic
choruses and operatic choruses did not differ between the two genres as much as I
had originally anticipated. While operatic and symphonic chorus masters operate in
vastly differing environments, there are many similarities in their approach. While
context mandates they approach their chorus from differing perspectives, each
conveys musical information and intent via a combination of manual directives,
understandable gestural language and effective rehearsal technique. Effective
communication is central to success in both domains, as it is indeed, to conducting in
general.
The principal recommendations of the project are then as follows:
•
that young conductors study and observe the work of experienced
professionals as a means of developing their own personal gestural language,
knowledge and understanding of repertoire and rehearsal technique
•
that young conductors seek to gain as wide-ranging musical and conducting
experience as possible
•
that conductors undertake some form of vocal training
•
that conductors actively seek to gain experience working with choirs
•
that courses in conducting training include a choral component
•
that formal links are established between institutions offering conducting
training and choral organisations
•
that more opportunities such as Sydney Philharmonia Choirs Assistant Chorus
Master position are available to aspiring choral conductors
•
that professional opera companies offer avenues for the training of operatic
chorus masters, possibly by way of an internship and/or assistantship
30
Bibliography and References
José Antonio Bowen (Ed.), The Cambridge Guide to Conducting. Cambridge,
Cambridge University Press, 2003.
Michael Bowles, The Art of Conducting. New York, Da Capo Press, 1975.
Daniel J. Kohut and Joe W. Grant, Learning to Conduct and Rehearse. Englewood
Cliffs, Prentice Hall, 1990.
The Dessoff Choirs:
http://dessoff.org/wp/about-dessoff/history/, accessed April 30 2013
Lund Choral Festival and Conference:
http://edit.info.lu.se/upload/Kulturvetenskaper/dokument/ChoralConference_Program
me_Abstracts.pdf, accessed April 23 2013.
http://www.lundchoralfestival.org/in-english, accessed April 23 2013
Maiello, Anthony. Conducting, A Hands-On Approach. Belwin-Mills Publishing Corp.,
1996.
The Metropolitan Opera:
http://www.operanews.com/operanews/news/pressrelease.aspx?id=1288, accessed
April 30 2013
http://metoperachorus.com/, accessed April 30 2013
London Philharmonic Choir:
http://www.lpc.org.uk/pdf/111118_Preparing_for_LPC_Auditions.pdf, accessed April
25 2013.
Scherchen, Hermann. Handbook of Conducting. Oxford, Oxford University Press,
1989.
Wittry, Diane. Beyond the Baton. New York, Oxford University Press, 2007.
31

report - Winston Churchill Memorial Trust

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