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Course Information :: Voices of the Millennium


2011 Session: 18-26 June

Fine Arts Building
410 South Michigan, Suite 825
Chicago, Illinois

Voices of the Millennium is a unique summer course for singers and pianists, focusing on the abilities of both performers to express, as actors, the texts of the songs and arias before performing the music, thus ensuring precise understanding of the texts and discovering colors and intensities that deepen the artistry of the final musical performance.

The distinguishing feature of a fine singing artist is the way in which the text, whether libretto of an opera or the poem of an art song, is painted. The technique of singing has this as its end: the expression in sound of the words.

Voices of the Millennium seeks to deepen the understanding of singing and collaborative artists by a thorough examination of the texts, in great detail. In this course, singers and pianists are first asked to tie their breathing to the sounds they make through Fitzmaurice Voicework. Voicework is a synthesis of yoga, bioenergetics, shiatsu, Alexander and meditation techniques. Using this released physical energy, performers then recite the words to songs and arias, both in the original languages and in English, until they achieve a personal, emotional understanding--coming to know not just the meaning of the words, but also individual subtext from the body's core. Thus singers and pianists acquire first-hand information about how composers constructed phrases to highlight certain words, and how those words might be colored. Read more about Voicework at http://www.fitzmauricevoice.com

Voices of the Millennium: Bring your interpretation to life.

Detailed Course Information...
 
Housing

Voices of the Millennium suggests the following accommodation for participants. We are in the process of negotiating special rates.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Participants 2010

Valerie Blair, pianist
Johnny Boehlefeld, baritone
Gretchen Eng, soprano
Maureen Kordesh, mezzo
Emily Sites, soprano
Nichole Slaughter, contralto
Victoria Watts, soprano
Nico Ziebell, baritone

 
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As Sinatra himself once explained, he usually began with a sheet of lyrics without music: ³At that point, I¹m looking at a poem. I¹m trying to understand the point of view of the person behind the words. I want to understand his emotions. Then I start speaking, not singing the words, so I can experiment and get the right inflections. When I get with the orchestra, I sing the words without a microphone first, so I can adjust the way I¹ve been practicing to the arrangement. I¹m looking to fit the emotion behind the song that I¹ve come up with to the music. Then it all comes together.

You sing the song.²

From Frank: The Voice by James Kaplan.