VOCAL PERFORMANCE program with daily vocal lessons, coachings and ensemble singing.
The program is designed to help aspiring singers discover their vocal potential,
- improve diction
- interpretation,
- vocal technique and
- audition preparation
while the Seminar provides the tools for you to become more confident performer.
Faculty includes the Metropolitan Opera soprano Olga Makarina
and the Metropolitan Opera conductor and highly sought after vocal coach Eugene Sirotkine.
Only a few arrive to more or less realistic, but still ever changing, picture. Singers who, unlike instrumentalists, cannot adequately hear themselves while singing, must continuously rely on help of teachers and other well-wishers.
The Seminar will help you to advance in following ways: - you will have a much more clear understanding of your instrument – your voice
- you will identify four or five arias or songs ideal for your voice
- your vision of the operatic world and your place in it will elevated to a new heights
- you will lose fear of auditions, knowing what to expect of yourself and your auditors
- you will learn how to listen to your body better, perform your best every! time and
- a sure way to stand out of the crowd
Human voice is the most beautiful instrument of all and singing is one of the greatest ways to express yourself.
But how to make it work for you.. how to grow your artistry and technique through the school years and how to succeed??? The Seminar will teach you that and much more! In addition our daily Music Business Sessions will teach you how to market yourself successfully, be Internet savvy, build thriving teaching studio and create long term income streams..
Olga Makarina (Elvira, center) in ‘I Puritani’
“In the post Callas-Sutherland-Sills era (after the brief reign of June Anderson),
exponents of the role of Elvira (with its dazzling coloratura demands) have been few and far between.
The brilliant Edita Gruberova and the gifted American lyric-coloratura Ruth Ann Swenson
have attempted the role with varying degrees of success.
The Russian soprano Olga Makarina is an Elvira out of another era.
Before the vocal glory of Callas and Sutherland, sopranos with lighter timbres often sang bel canto roles.
Makarina’s charming stage presence and light, silvery voice were often enthralling.
Her ‘Qui la voce’ had glittering coloratura and precise vocal control.
She brought real pathos to Elvira’s mad scene — the one moment when the problematical drama came alive.
Her thrilling rendition of the final duet (with tenor Eric Cutler) brought the evening to an exciting conclusion.
Makarina’s often brilliant singing became the production’s central focus.
With credits that include New York’s Metropolitan Opera (Rigoletto, Le Rossignol, Il Pirata) and
St Petersburg’s Kirov (Donna Anna in Don Giovanni under Valery Gergiev),
Makarina is a major talent!”
Here are few memorable moments from the 2011 Seminar.
Victoria Miningham performing haunting Bachianas Brasileiras no. 5 for soprano and 8 cellos by Heitor Villa-Lobos.
Diana El, Geoff King (piano) and Grace Callahan (viola) performing Songs by Johannes Brahms for Soprano, viola and piano
Olga Makarina with several vocal program participants
