“Music, though the language of emotions, can only arouse them in a vague and general manner. To express any particular feeling or idea, we must make use of the words. The pupil must read the words of the piece again and again till the finest shadow of meaning has been mastered. He must next recite them with perfect simplicity and self-abandonment. The accent of truth apparent in the voice when speaking naturally is the basis of expression in singing. Light and shade, accent, sentiment, all become eloquent and persuasive. The imitation of instinctive impulse must, therefore, be the object of special preparation.”
— Manuel Garcia
Hints on Singing, 1894
VOICES Of Summer Presents:
Bel Canto Colloquium
September 15, 22, 29
Hosted in Studio 935 of the Fine Arts Building in Chicago
Embark on a transformative journey with me as we explore the foundational principles of vocal production, guided by the esteemed and time-honored techniques of Bel Canto.
September 15
Comparison of current technical approaches with Bel Canto
Breathing, vocal fold adduction, registration, resonance
September 22
Bel Canto anatomy and physiology
Aesthetic goals and how they are achieved
Vocalises
September 29
Results of Bel Canto
Messa di voce, mezza voce, fil de la voce, esclamazione
Portamento-legato
Voices of Summer
Voices of Summer is devoted to the enhancement of interpretive skills.
Bringing vocal music vibrantly to life relies on a skill rarely taught in universities and conservatories, namely the emotional preparation of the texts of art song, oratorio, and opera as theatrical monologue.
This intensive course asks operatically trained singers to divorce the text from the setting provided by the composer and - using the vocal-technical resonance of operatic singing - declaim and act the texts until a personal connection is formed with the words. This skill amplifies the choices made by the composer as well as providing an interpretation unique to the individual performer.
Full Summer Course To Return Summer 2025
Listen to
Voices of Summer Alumni
“At that point, I’m looking at a poem. I’m 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 I’ve been practicing to the arrangement. I’m looking to fit the emotion behind the song that I’ve come up with to the music. Then it all comes together. You sing the song.”
Interested in joining us?
Please submit your resume and an audio or video audition. Include two songs or arias from the classical canon preceded by a reading of the texts. Successful candidates will be given a list of new materials from which one art song, one aria, and one recitative will be chosen in consultation.