CLA France Blog: A Cheerful, Rainy First Day

Our first full day in France brought a forecast of cold rain, but it also brought an energy of excitement as classes began.  After breakfast, scales and arpeggios spilled into the chateau’s hallways.  We were sequestered together inside the house, except for any brave soul who dared to warm-up in the other building.  

The first sounds of a summer program can often be fraught with anxiety, as peers begin to hear each other sing.  However, I found the energy to be different than other programs that I have attended.  There was a positivity and excitement surrounding the opportunity to hear all the different voices.  We strategically positioned ourselves close to coaching rooms in order to appreciate the luscious tones.  But really, eavesdropping could not be easier.  The sounds of Glenn’s coaching room on the ground floor travel through one of the house’s staircases and fills each of the upper floors.  I initially felt nervous to expose my voice.  However, as I prepared for my first coaching, I was inspired and comforted by the sounds of my colleagues at work.  I realized that we’ve already established a sense of support for each other, and because of this, we were finding great enjoyment in meeting each others’ voices.  

I feel that I should introduce myself since you’ll be hearing from me a lot over the next few weeks.  My name is Wesley Diener, and I’m from Vienna, Virginia, which is close to Washington, D.C.. I’m a baritone, received my undergraduate degree from the University of Virginia, and will be applying to graduate programs in the fall.  In addition to singing, I’ve enjoyed work as a stage director and educator at children’s theatres.  An interesting fact is that I chose to attend this program without having met any of the faculty or other singers.  As I dreamed about summer possibilities last year, I came across CLA, which had been highly recommended to me by various friends.  I was immediately drawn to the individualized nature of the program’s structure.  We receive daily coachings with two different faculty members, in addition to group French classes, private French sessions, and ensemble rehearsals in the evenings.  It also helps that I fell in love with France when I visited for a few months in 2016.  I am so pleased to be here working with the wonderful singers and faculty, and it has already surpassed my expectations.  Attending a program without any previous acquaintance can be slightly frightening, and I’m thankful for the immediate warm welcome that I received.  I have already profited greatly from the intensive and enjoyable coachings, and I’m looking forward to getting to know everyone even better.  

That’s enough about me!  I plan to spotlight some of the other singers and faculty members in future posts, and I’m sure that you’ll find their stories very interesting.  

As the day progressed, we became even more comfortable with each other, and there was a buzz of compliments circling the rooms.  Since we can hear coachings so clearly but can’t always see into rooms, there have been many humorous dialogues between singers trying to link a voice to its owner.  My favorite part of the day was the ensemble rehearsals.  Personally, I most value the collaborative atmosphere of opera, and while there is a special connection between pianist and singer, I find the creative energy to expand dramatically when more than two people are involved.  Ensemble rehearsals also call for pre-rehearsal preparation amongst ourselves, much of which took place in each other’s bedrooms. I witnessed greater bonds forming between singers, as we shared the responsibility of preparing and practicing.

Our strengthening community aptly concluded the day with a group walk along the nearby roads.  Taking advantage of the day’s first dry hour, we appreciated the setting sun and roaming sheep.  Conversations ranged from directing philosophies to horoscope signs, and by the end, we agreed that there will be many more group walks to come.  

CLA France Blog: First Impressions

After arduous travels, most of the singers arrived yesterday at our location: the cheateau Les Jouandis. For some, the trip was not as peaceful as the calm rolling hills that now surround us. We flew, navigated the French train system, and, due to rail construction, took the last leg of our journey by bus. One singer even left her suitcase on a departing train. On my end, I narrowly caught my train in Paris with only one minute to spare. However, I can confidently say that the hours of cramped leg room and rushed connections faded away as we discovered Le Jouandis in the heart of the French countryside.

Les Jouandis, our cozy campus for the next three weeks, is a peaceful paradise. The chateau sits atop a hill and overlooks the rolling fields of grass and wheat. The property itself features beautiful foliage and rustic charm. Despite its aged beauty, the buildings offer a variety of amenities, including a sauna, outdoor hammocks, and an impressive pool, which made us all very sad to learn that our second day will bring rain. We were greeted by the owners with a basket filled with ripe cherries - hand-picked on the property, of course. After enjoying our first nibbles on the large outdoor dining area, our jet-lagged spirits were already inspired for three weeks of beauty, music, and community. Personally, I found Le Jouandis to be even more impressive than I could have hoped.

The only excitement equal to discovering our beautiful home was the experience of meeting each other. We represent many backgrounds and personalities, including heritage from Mexico, Switzerland, Ukraine, and the United States, in addition to the largely French staff. It was exciting to take part in the beginnings of our CLA community, and I’m looking forward to the great friendships and collaborations that will develop. I was particularly struck by the thoughtfulness of the musicians around me. It is clear that this year’s students and faculty prioritize kindness and inclusion. Even while sunbathing by the pool, I listened to productive conversations about what it means to be an effective and authentic artist.

Finally, we celebrated all together at our first group dinner prepared by the wonderful cooking staff Benoit and Emmannuel (much more on delicious food in future posts!). The faculty welcomed us and spoke about their priorities for the next few weeks. They stressed the importance of a supportive CLA community and the pleasure of performing. These two ideas are very important to me as an artist, and I was so excited to hear that they will be the foundation of the CLA experience. I feel that competition, ego, and distrust too often seep into our educational experiences as young singers. Even more so, I find that, among our studies of technique, diction, and interpretation, we easily forget to take pleasure in our performance. CLA seems to steer clear of these pitfalls, and it is clear that this will be a time for detailed work, as well as a comfortable opportunity to take risks and truly enjoy our craft.

I’m looking forward to sharing my experience at CLA with you all through this blog. If you have any questions about the experience here in France, please reach out at wesley.diener@gmail.com with questions or suggestions. More to come soon!

Sunday Reading: French History from a Donor

Contributing Editor and CLA supporter Marshall Berland writes about the little known Boulanger Sisters of Belle Epoque France--Nadia, arguably the greatest composition teacher of the twentieth century, and her younger sister, the tragic Lili, who died at the age of 24 and yet left an impressive body of work still being discovered and appreciated today. Grab your coffee and head to Paris for the afternoon!

Reflections: CLA France 2018

A snapshot of the countryside by the chateau.

Reflections:  CLA France 2018

Life is loud.  In the city, working a graduate program, running errands, the daily stuff of life, it is all part of a rhythm.  I am thankful for all of it, because the routine is part of happiness and a life as a singer.  We are always up and moving, meeting new people, acquainting ourselves with new repertoire, blending backgrounds to make some good music.  

I was down in Charleston recently for a series of performances during the Piccolo Spoleto Festival.  We did a send-out concert at the beautiful Mepkin Abbey, a place rich with musical history.  The leading monk there was a career organist and pianist before turning to monastery life.  On the way back to our cars, we walked down the pathway lined with live oak trees. One of us commented on how quiet such a life would be.  No technology, no connection to the outside world — just the work.  Folks go on meditation retreats to have this great escape.  A place to reset, a haven.  In the life of an artist, we rarely get the chance.

When I woke up today, I opened my window out to the Dordogne hills.  Other than the birds singing, the occasional distant car driving down the country road, and the voices of the 10-12 singers that have come here to the chateau, it’s just us.  There is still the intensity of learning all the new repertoire, but the hassle is gone.  Food is provided, we don’t have to go anywhere (only to go for morning jogs next to the cow pastures...)  It is a retreat, and there is nothing but the language, the music, and the landscape.  

M
June 6, 2018

CLA Newsletter: Summing it up after France 2018

We are still smiling after a magical three weeks at CLA France.   We just started CLA Italy this week! 

You saw our 11 singers and pianists perform 8 concerts in the Aquitaine region.  You saw the growth of our students from the beginning to the end of the three weeks, and we thank you for following their journey.  If you couldn't make it to our concerts this year, stay tuned for videos coming on our website, and for CLA Italy in August!

If our performances inspired you to support our young artists, you can show your support through a gift in the amount of $50 or more.  

Last year, 90 percent of our donations funded program grants for our participants.  Help us change the lives of our future participants and provide this transformative experience for free, to each of our 9-10 students in CLA France. Click the "Donate" button below, and give generously to the future of our young singers!

If you are new to us, check out our website at www.classiclyricarts.org, on our Instagram @classiclyricarts, and on our Facebook:  https://www.facebook.com/ClassicLyricArts/?ref=bookmarks.  

Nous sourions encore après trois semaines avec CLA France.   

Vous avez vu notres 11 chanteurs et pianistes en 8 concerts dans la région Aquitaine.  Vous avez vu la transformation de nos participants du début jusqu'à la fin de ces trois semaines, et nous vous remercions de suivre leur chemin.  Si vous ne pourriez pas assister à nos concerts cette année, mettiez-vous en courant pour les vidéos sur notre site, e pour les concerts de CLA Italy en juillet et août! 

Si vous êtes inspirés par nos performances, vous pourriez montrer votre support par une contribution de 50 euros ou plus.

L'année dernière, 90 pour cent de vos contributions avaient financé les bourses pour nos stagières.  Aidez-nous de changer leurs vies, et d'offrir cette expérience transformative gratuitement, pour chacun de nos 9-10 participants en CLA France.  Cliquez "Donate", et donnez généreusement au future de nos jeunes chanteurs!   

Chinese Students and CLA

CHINESE STUDENTS AND CLASSIC LYRIC ARTS

Each summer Classic Lyric Arts Italy brings twenty aspiring singers from all over the world to the beautiful town of Novafeltria in the Emilia-Romagna region. They perfect their skills in the exacting discipline of singing Italian Opera and Art Song, studying with master teachers and interacting with the community. In the video above, four Chinese students of the program discuss their experiences with this program and the unique challenges they have encountered.

Testimonial: Briana Hunter

Testimonial:  Briana Hunter – Mezzo-Soprano

CLA Alumna and mezzo-soprano Briana Elyse Hunter takes us with her on an inward journey reflecting on her experiences as a three-time participant of our training programs. 

Recent credits include Carmen (Carmen), Mercédes (Carmen), Cendrillon (Cendrillon), Ida/Prince Orlofsky (Die Fledermaus), Laura (Iolanta), Rosa Gonzales (Summer and Smoke), and Sarah (Ragtime). She has worked under the direction of The Royal Shakespeare Company as both actress and vocal soloist in an original production For Every Passion Something that premiered at the Fringe Festival in Scotland. She was a 2014 recipient of the Lys Symonette award in the KWF's Lotte Lenya Competition. In 2016 she competed in the Mid-Atlantic Regionals of the Met Competition at the Kennedy Center. She has been on the rosters of Santa Fe Opera, Knoxville Opera, American Opera Projects, Opera in the Heights, I SING BEIJING, Sarasota Opera, El Paso Opera, and Music Academy of the West where she sang the title role of Carmen under the tutelage of the great Marilyn Horne. Ms. Hunter also serves as Artistic Director of Bare Opera In NYC.

"When I met Glenn, I was a student in his beginner Italian diction course. I had just graduated from a small liberal arts college famous for its rigorous academics, and I was ready to take on this new academic setting with the same headstrong, nose to the grindstone attitude. I was acing my IPA (International Phonetic Alphabet), and I had a natural knack for languages. However, I was not soaring above the rest. Good grades were not making my voice great. Seeing my frustration, Glenn approached me about a program he had started in Italy and said I would really profit from it (naturally, like most, I was in love with Glenn at this point and probably would have followed him anywhere). In our brief sessions in his class, I found I responded well to his style of coaching, so I wanted more of that, plus the wine and the food sounded like a good deal. I was great at school so I would be great at this.

So what does make a great singer? Lately, I’ve read a lot of articles citing the death of classical music in America, and the dearth of great dramatic voices–-basically what is lacking––but very few actually offer up a reason or any kind of solution. Tenor Michael Sylvester’s recent blog post really breaks that mold and, I think, is right on the money. He says:

'Today’s singers expect it to be fed to them. They think if they get good grades and do the work put forth for them in college, they will succeed. As a group they take little initiative to teach themselves. And if you want to be a real singer, you have to teach yourself. Listen to the great singers of the past and present. Understand their style. Empathize with their voices. Work at your languages, don’t just be prepared with your IPA. That’s merely a tool. When you study a piece of music, understand the text. Make it yours. Know its roots.'

He goes on to say:

'We... somehow believe that we can teach someone in an hour a week and make them great. If you look back you will find singers that went off to study with this or that great master and they speak of having a lesson every day, of singing only scales for a year, of long discussions with their teacher on the subtleties of music and singing. Music has long been a mentored craft. Teacher passing down to student, who in turn passes it down, and so forth. Modern life seems to thwart this kind of apprenticeship.'

This is exactly the service CLA provides. The opportunity to work closely with the masters on a daily basis in the birthplace of the music itself. The daily one-on-one grueling yet delicious work of understanding the style and the nuances of the language. Listening to Michel Sénéchal tell stories about singing at the Paris Opera with Montserrat Caballé and how she proposed to him twice, or hanging out with Poulenc. Hearing Ubaldo Fabbri’s infectious laughter and listening to the Italian language just dance around gloriously in his mouth. Listening to the recordings they recommend to you with a new attentiveness to their artistry and diction. Sitting in the garden or the piazza and contemplating what kind of artist you want to be, meditating, and asking yourself daily if this is something you really want and if you have what it takes to work for it. Listening to the recordings of your own lessons that day and figuring out what works for you. Also, realizing you are not the only one who struggles with all of these things, as you get to know your colleagues and watch them work and at times get frustrated. That’s where the wine and the food become crucial.

When Glenn said I would profit from that first experience which then turned into three (two in Italy and one in France), I doubt even he knew the magnitude of his contribution at the time. He sent me thousands of miles away on an inward journey. To an Italian village seemingly untouched by modern times to get to the heart of the art form, the essence of the language, and find how it speaks to you and what you can uniquely bring to it. Like the Cat in the Hat taught us, “There is no one alive who is youer than you!” Therefore so much of the journey must be inward, and that’s the most difficult road to take. CLA has been a huge part of my inward journey, and I am extremely grateful to Glenn and all of his colleagues who have accompanied me."

In Memory of Michel Sénéchal

“In French song, the singer becomes a painter, describing a landscape, suggesting an emotion…One must use the entire palette of colors of the voice…” ”

— Michel Sénéchal

From the program’s beginnings in 2012 to the year 2014, we had the great honor of having the distinguished singer and teacher Michel Sénéchal to offer daily coachings to the participants, sharing his vast experience and passion for the art of singing in French. An undisputed master of the French repertoire, he was intimately connected to the great composers such as Charpentier, Hahn, Honegger, Messian, and Poulenc, as well as the renowned master teacher Nadia Boulanger. A student at the Paris Conservatory along side Régine Crespin and Gabriel Bacquier, he studied with the great French baritone Camille Maurane, as well as Gabriel Pollet, the last disciple of Fauré, Duparc, Satie and Debussy.

Michel Sénéchal led a brilliant career, starring on the world’s most prestigious stages including the Paris, Vienna, Salzburg, Berlin, Milan, London, Bruxelles, Moscow, Madrid, Barcelona and San Francisco opera houses as well as the Metropolitan in New York. He can be heard on over a hundred recordings. Renowned for his impeccable style and dramatic presence, he was one of Karajan’s preferred singers. The maestro invited him to perform in Mozart’s greatest operas in Vienna, where he also took on many other prominent roles alongside the most celebrated singers of our times, under the most renowned conductors.

Michel Sénéchal was born in Paris.  During his childhood, he sang as an alto in the choir at his grade school and at his church; then after a period of classical study, he entered into the Conservatoire National Supérieur de Musique de Paris where he studied voice with Gabriel Paulet.  He won the 1er Prix de Chant in 1950 and was immediately engaged with the Théâtre Royal de la Monnaie in Brussels where he made his début in Mârouf.  Two years later, he was the [star/high?  brillant laureat] in the Concours International of Geneva.  In 1958, he made his débuts at the Paris Opera and at l’Opéra-Comique where he excelled at his chosen repertoire:  Mireille, Mignon, Lakmé, Il Barbiere di Siviglia, Les Indes Galantes, Cosi Fan Tutte, Le Compte Ory, Platée, L’Incorrazione di Poppea...  

While his light tenor voice was perfectly suited to leading roles of Mozart and Rossini which he sang in his early career, he dedicated the second half of his career to the repertoire for character tenor.  Thanks to his unique artistry and exceptional humor, he became the premiere performer of these roles.  An unforgettable interpreter of the [heros/heroine/title characters] of Jean-Philippe Rameau, he was saluted by the public and the press as the most beautiful interpreter of Platée.  In international news, he was remarked for his musicality and his [investment scenic/stage presence/character] in the title roles of Compte Ory of Rossini and of Platée, but equally those of Georges Brown from La Dame Blanche, of L’Innocent in Boris Godounov, and of Gonzalve in L’Heure Espagnole.

He sang alongside Régine Crespin, Andréa Guiot, Robert Massard, Jane Rhodes, Gabriel Bacquier, Roger Soyer, Denise Dupleix, Michel Roux, and Placido Domingo, Renée Felming, Mirella Freni, Elisabeth Schwarzkopf, Luciano Pavarotti and many other illustrious artists.

He performed in the world’s premier opera theaters: At Vienna Opera, he was one of the few French tenors to have sung Tamino in Die Zauberflöte, but also Le Compte Ory, L’Heure Espagnole, L’Enfant et les Sortilèges, Il Matrimonio Segreto.  At Madrid Opera, he sang Le Nozze di Figaro.  At the Metropolitan Opera, from 1982 onward he performed regularly in Les Contes d’Hoffman, Le Nozze di Figaro, Falstaff, La Forza del Destino, Eugène Onéguine, Andrea Chenier, La Fille du Regiment, Manon.  Since 1989 he sang at the San Francisco Opera in Capriccio, Le Nozze di Figaro, La Fille du Regiment, Andrea Chenier, Der Rosenkavalier, Russalka, Madama Butterfly, Manon, and Les Contes d’Hoffman.  He also participated in productions in the most prominent international festivals, such as Aix en Provence (Platée), Glyndebourne and Salzbourg where he made a revered interpretation of Herbert Von Karajan.

From his extensive discography, we note Dialogues of the Carmelites, Chérubin of Massenet, L’Heure Espagnole and L’Enfant et les Sortilèges, Platée, L’Enfance du Christ, Le Compte Ory, Mireille of Gounod, Roméo et Juliette of Berlioz, Anthologies of the Mélodies of Francis Poulenc with Dalton Baldwin; and most notably, the recording of La Dame Blanche.

Established as an absolute master of French singing, he was professor and director at the Opéra de Paris School for fifteen years, being instrumental in the evolution of many of today and tomorrow’s stars including Roberto Alagna, Nathalie Dessay, Uria Monson, Ludovic Tésier and Renée Fleming.
He offered classes at Columbia University and New York’s Mannes College. He also gave master classes to young singers at the Metropolitan Opera and San Francisco Opera and taught at the International Vocal Arts Institute in Montreal.

After making his debut in 1950, he continued to be active for over 60 years as a performer and master teacher.

Alumni Spotlight: Haley DeWitt

Soprano Haley De Witt, a native of Louisville, Kentucky, was Apprentice Studio Artist at Kentucky Opera for the 2017-2018 season and the University of Louisville School of Music Graduate Teaching Assistant in Voice where she taught both privately and in the classroom. She has been seen as Despina in Così fan tutte, Laurie in The Tenderland, Laurette in Le Docteur Miracle, a featured soloist in the Louisville Orchestra’s performance of Leonard Bernstein’s Mass, and a soloist in Bourbon Baroque’s Messiah. An avid singer of choral music, Haley was a member of the renowned UofL Cardinal Singers for three years and has been a member of the Louisville Chamber Choir for four years. Haley recently completed her Master’s Degree in Vocal Performance at the University of Louisville, where she studied with Dr. Katherine Donner. Haley received her B.M. in Vocal Performance from U of L where she studied with Edith Davis Tidwell.

Sitting down with John Hunter, Chairman of the Board

Maria Miller, Development Coordinator for Classic Lyric Arts, Inc. sits down with John Hunter, Chairman of the Board, to discuss his CLA experience.

MM:  How did you become involved with CLA?

JH:  A few years back, Glenn Morton, the artistic director for CLA, asked me to attend a planning session in the home of one of our board members. I agreed based on the wonderful experience my daughter had at CLA. I thought it would be a good thing to lend my support and experience in strategic planning for the private sector.

MM:  What has been most gratifying about being involved with this program?

JH:  Indeed the most gratifying thing has been to watch CLA grow as an organization and influence the artists who attend our programs. When I see artists developing careers in opera who are able to discuss how their time in France or Italy changed the trajectory of their work, it’s really exciting.  I think the focus on language and culture is an important differentiator for CLA. The native instructors who specialize in the understanding of certain composers and what their intent was for each word that is expressed is truly unique. More importantly, for the artist who has not been brought up in the countries where opera began, the opportunity to understand the culture and language at a deeper level is unique and invaluable.

MM:  Any favorite moments?

JH:  I’m always excited to hear the artists perform during the November CLA gala. Last year's gala, in particular, was very exciting because of the diversity of the group and the way in which the voices combined to present a deeply moving performance.

MM:  Ten years have flown by.  What’s ahead?

JH:  I think we’ll provide CLA with a platform to increase its visibility in the USA with opera lovers and young artists. Increasing performance opportunities in the states and exposing others to CLA through master classes given by our wonderful instructors will be a couple of ways we’ll achieve this.  We will put a strong emphasis on increasing our funding for deserving artists to attend the programs in Italy and France.