THE ART OF LISTENING: an indispensable element of a singer's training
The Art of Listening is a special study for singers interested in expanding their ability to listen critically to singing, to identify and analyze elements that could be beneficially applied to their own work, and to understand styles of singing in a historical context. We listen to historical recordings of singers made primarily in the first half of the 20th century and make detailed, discriminating comparisons with modern recordings of songs, arias and ensembles. This includes critical examination of phrasing, vocal tone, timbre, style, legato, rubato, portamento, coloratura technique and dramatic delivery. Atmosphere of open-minded inquiry sets the tone. No singer is or ever was perfect! This study is about developing one's discernment, exploring standards, and in turn, developing one's own artistic signature.
Private coaching/listening sessions. For advanced artists who wish to delve deeply into the understanding of their craft and develop their dramatic/stylistic delivery. Recordings are chosen based on the individual's artistic needs and interests. Some students choose a specific topic, such as study of rubato, or operetta style, or focus on a single role through the century, or study of the Wesendonck Lieder, for example, or a particular artist, such as Ponselle or Galli-Curci or De Lucia, etc.
Six Week Workshop. Open to classical singers and their pianists; intended for professionals or serious career-bound students focused on defining their unique style. The workshop comprises six two-hour evening classes. Admission is by telephone interview.
Comments on "Art of Listening" private coaching
"The class affected my singing performance and my listening in a huge way...Listening in the sense that I feel like I know what to listen for, and I can actually articulate what I like or don't like about a performance, instead of just saying something nebulous. As far as performance -- I now work with creating an interpretation that's just mine, that works in my particular voice, instead of what "everybody else" does. I feel like I've learned so much about that balance between technique and drama, and how the two work together. One of the most important things I learned was that it's not necessary to sacrifice vocal line for expressiveness, and in some cases it's counterproductive." Allison Atteberry, Soprano