Listed by tutor, please see below class descriptions and repertoire requirements. Where none are specified students may bring any suitable own-choice repertoire to the class. Please prepare at least one piece to performance standard, however, as you will be allocated to sing in either the Monday, Tuesday or Thursday night concert in advance of the course. Although we expect classes and tutors to be as listed, we reserve the right to make changes as necessary.
- John Mark Ainsley: Masterclass
- Lorna Anderson: Cantata and Baroque
- Robin Bowman: French Song
- Susan Bullock: Masterclass
- Joan Busby: Enjoy your singing, Baroque Song
- Karen Cargill: Masterclass
- Catriona Clark: Voice Lesson, Beginner’s Oratorio
- Jacquie Crago: Acting for Singers
- Fiona Dobie: Intentional EFT and other energy modalities, Voice and Presence
- Matteo Dalle Fratte: Sung Italian: Melofonetica Method®
- Paul Wynne Griffiths: Advanced Opera Coaching
- Alisdair Hogarth: American Song, Contemporary Composers
- Audrey Hyland: Audition Experience, Coaching for Singers
- Richard Jackson: Take the Lied
- Janis Kelly: Advanced Voice Lesson
- Anthony Kraus: Repertoire Coaching
- Jamie MacDougall: Lieder, Scots Song
- Patricia MacMahon: Voice Lesson
- Malcolm Martineau: Art Song
- Gary Matthewman: Early Lieder
- Ann Murray: Masterclass
- Linda Ormiston: Cabaret, Performance
- Steven Phillips: Audition Experience
- Martin Pickard: Opera Coaching, Playing Opera Reductions
- Jo Ramadan: Repertoire Coaching
- Sergey Rybin: Russian Song
- Ingrid Sawers: Effective Learning Techniques
- Russell Smythe: Voice Lesson
- Susanna Stranders: Opera Coaching
- William Vann: English Song
Solo Italian Ensembles
The most famous and exhilarating moments in the entire Opera art form are found in the ensembles of the great Italian composers. Matteo Dalle Fratte and Anthony Kraus will use their expert knowledge of language and musicality to explore the vast repertoire of solo Italian ensembles. If at performance standard, there may also be an opportunity to perform during a daily Opera Showcase concert on the final day of the course. Repertoire suggestions are as follows, if however you have alternative repertoire you would like to work on, please let us know at the point of application:
- Caro bella! Piu amabile belta – Handel – Cleopatra & Cesare from Giulio Cesare
- Trionfa oggi’l mio cor – Handel – Orlando, Angelica, Medoro & Dorinda from Orlando
- A cenar teco m’invitasti – Mozart – Don Giovanni, Leporello, Commendatore from Don Giovanni
- Riconosci in questo…. – Mozart – Susanna, Marcellina, Don Curzio, Bartolo, Figaro & Count from Le nozze di Figaro
- Non bastan quelle lagrime – Rossini – Elisabetta, Matilde from Elisabetta Regina d’Inghiliterra
- Il messaggio entri – Verdi – Oscar, Renato, Amelia, Silvano from Un ballo in maschera
Solo Lieder Ensembles
This class explores the solo ensembles of Brahms, Schubert, Schumann, Fauré, Gounod and Poulenc with a focus on singing within interwoven vocal lines, harmonies and a study of the language and musical style. These ensembles include duets and quartets, with repertoire scored for solo voices. If at performance standard, there may also be an opportunity to perform during a daytime Lieder Showcase concert on the Thursday of the course. Repertoire suggestions are as follows, if however you have alternative repertoire you would like to work on, please let us know at the point of application:
- Der Gang zum Liebchen – Brahms, Op.31/3 – Quartet
- Hymne an den Unendlichen – Schubert, D.232 – Quartet
- Botschaft – Schumann, Op.74/8 – Sop/Alto
- Ich bin dein Baum – Schumann, Op.101/3 – Alto/Bass
- Die tausend Grüsse – Sop/Tenor & So wahr die Sonne scheinet -Schumann, Op.101/7&8 – Quartet
- Pleurs d’or – Fauré, Op.10 – Sop/Tenor
- D’une coeur qui t’aime – Gounod – Sop/Alto
- Colloque – Poulenc – Sop/Bass
Solo Oratorio Ensembles
This class will focus primarily on movements from the Oratorio repertoire, but will also explore ensembles from Madrigals more generally. All ensembles will be scored for solo voices (mostly duets, trios and quartets) with piano accompaniment. During classes the tutors will work on language, balance and musical style, with the possibility of performing in our popular Friday evening Chapel Concert. Repertoire suggestions are as follows, if however you have alternative repertoire you would like to work on, please let us know at the point of application:
- So ist mein Jesus nun gefangen – Bach – Sop/Alto with choir – from Matthäus Passion
- Wie soll ich dich – Bach, BVW152 – Sop/Bass – from Tritt auf die Glaubensbahn
- Libera me – Fauré – Bass soloist with choir – from Requiem
- Great victor, at thy feet I bow – Handel – Sop/Alto – from Belshazzar
- Se teco il vive il cor – Handel, HWV 12 – Sop/Alto – from Radamisto
- Streams of pleasure ever flowing – Handel – Sop/Alto – from Theodora
- Benedictus – Haydn – Sop, Alto, Tenor, Bass – from Paukenmasse
Open to all applicants, this class examines the intimate relationship between the solo voice and piano accompaniment. Song Repertoire in all languages and styles is welcome by internationally renowned accompanist, Malcolm Martineau.
In 2019 we welcome back celebrated artists and returning Guest Masterclass Tutors Susan Bullock, John Mark Ainsley and Ann Murray. All have performed extensively at opera houses and concert halls around the world and have recorded a wide range of repertory to critical acclaim. Any suitable repertoire is welcome and must be sent in advance and fully memorised. These Masterclasses are available as extra class choices.
Cantata and Baroque
This class focuses primarily on the sacred and secular music of the Baroque and Classical periods but also invites any music from later periods which might feel at home being sung in Loretto’s beautiful chapel.
French mélodie, art songs from the late 19th and early 20th century, are explored in this class by a leading specialist in the field, Robin Bowman.
Enjoy your singing
Regain freedom and enjoyment in singing, and really connect with your audience. Would you like to enhance your sound and make it warmer or more sparkling? Are you using your energy efficiently? Do you have easy access to your full range? Are your words clear? Is your voice expressing all you feel about the music? Come and experience technical confidence in this class.
The songs of the early baroque period are often used in the early stages of developing a healthy singing technique. Using Arie Antiche: ad una voce per canto e pianoforte (Parisotti, Milan, 1885–1888) this class explores baroque song in relation to singing on the breath, legato phrasing and expressive dynamic control. The original collection comprises 100 songs or arias published in three volumes by Ricordi as a primer to study classical singing. These volumes are still available, but have also been reduced in a single-volume, 24 Italian Songs and Arias, published by Schirmer. Schirmer also publishes these plus four others from Parisotti in the volume known as 28 Italian Songs and Arias, for Medium High voice, and another with the same name offering a choice of key for each song, plus much additional information and a CD.
These one-to-one voice lessons will be tailored specifically to help the student improve their own singing technique. Although there will be no accompanist for this class, students are encouraged bring repertoire they may be working on, so that, by working through selected passages, the basic elements of healthy vocal production can be explored.
Soprano Catriona Clark invites singers at all levels to work on pieces from the great oratorio and concert platforms within a coaching environment. A keen and experienced concert singer, Catriona will work on language, style and performance interpretation during this class.
Acting for Singers
My passions as Voice Coach, Actor and Director are text and how to achieve detailed and truthful communication through connection with that text. Over many years of working with actors and musical theatre and opera singers I have become aware that performances frequently suffer from physical ‘tightness’ and inflexibility – often, with singers, the result of an undue concern about ‘hitting the right note’. Of course, musical accuracy is an essential part of the job but it cannot be the only point of focus if the story is to be told in full – on the concert platform as well as in a full blown production. My work helps performers to discover and internalise the emotional details of text, to connect those discoveries with the structure of the music and to communicate the performance freely through the released physical action of the voice. When word and music are fully realised through the performer then there is inspiration. The physical release work is also a great help when grappling with performance nerves!
Intentional EFT and other energy modalities
Although I am primarily a singing teacher, in 2010 someone offered me EFT tapping sessions as a swap for singing lessons. I was intrigued, and then amazed at how powerful it is as a way of releasing anxiety. Very soon I embarked on EFT training and in time became an advanced practitioner. This work releases people into better energy and thought patterns, and I teach it very simply but effectively now, as a self -help tool. I’ve continued to explore best practice in EFT and other energy modalities, including HeartSpeak, tailoring a session to the individual.
Voice and Presence
I offer the combination of aligned, embodied, freeing singing technique and many ways of encouraging singers to be fully present. This enables more beautiful, protected and expressive singing, integrated with enhanced awareness and ability to be grounded and fully imaginative. I have been an associate teacher of David Jones for over 11 years and also use Meribeth Dayme’s ‘Core Singing’ principles. I love working in partnership with singers, exploring what works for them and witnessing them becoming more alive and confident in their singing and performing. It’s exciting and a privilege.
Sung Italian: Melofonetica Method®
Matteo provides tailored coaching using his groundbreaking method, which is based on the phonetics of sung Italian language. The approach helps singers achieve correct Italian diction, maximise expression and strengthen breath support and projection for a performance space. Singers can focus on any Italian repertoire, from Monteverdi to Puccini.
Advanced Opera Coaching
This new class with Paul Wynne Griffiths, who is on the music staff of The Royal Opera, will coach singers on the nuances of preparing to perform operatic repertoire. For The Royal Opera Paul has conducted a variety of classical and romantic repertoire, and has played continuo for numerous productions and worked as a répétiteur. Paul was artistic director of the BBC’s ‘Pavarotti Masterclass’ and is a visiting tutor at the Royal Northern College of Music and the National Opera Studio. Repertoire from the Baroque to Bel Canto period is welcome and should be fully prepared to performance standard.
Focusing exclusively on American art song (as opposed to opera or musical theatre) participants are encouraged to bring not only standard repertoire such as Bernstein, Copland and Ives, but also to explore the diverse array of newer works by contemporary composers such as Jake Heggie, John Musto, Lee Hoiby, Ned Rorem and Lowell Liebermann. A list of suggested composers is available on request however Barber’s Sure on the Shining Night is no longer accepted as part of this class.
This class explores the repertoire of contemporary composers who have made a significant impact on the world of classical music since 1976. Upon acceptance onto the course, students are encouraged to submit their choice of composer/piece they would like to study. Repertoire will then be agreed for preparation in advance of the course.
Following popular demand, this class will take students through all aspects of the audition experience. After a mock audition, the panel will invite students back into the room to discuss their audition, including; repertoire choice, personal presentation, connection with pianist and things to consider inside and outside the audition room. The panel will include Audrey Hyland, Deputy Head of Vocal and Opera at the Royal College of Music, and Steven Phillips, Company Manager at The Grange Festival and former Chorus Manager at Opera North. This will be a closed class, best replicating the audition experience, and students should prepare three contrasting arias (one in English or English translation) and also give an updated CV to the panel on arrival.
Coaching for Singers
This new class taken by Audrey Hyland will be tailored to the individual needs of the singer; whether preparing for a performance, adding to their vocal technique or working on greater detail regarding musicianship, language and style. Both operatic and song repertoire will be welcome, but pieces must be prepared before the session.
Take the Lied
Richard has taught both German and French Song at the Royal Academy of Music, The Royal Northern College of Music, Trinity Laban and studied privately with Pierre Bernac. In this new class for 2019, Richard encourages students to explore the language and interpretation across the vast range of song repertoire.
Advanced Voice Lesson
This one-to-one class is tailored to the needs of each student by Professor Janis Kelly. This class will focus on the essential elements of vocal technique including breathing and support, tension and grip in the “passaggio” and will explore exercises to help the singer improve their sound and understanding of their technique. This class will also address the technical challenges found in the more demanding repertoire.
Anthony Kraus and Jo Ramadan welcome students at the earlier stages of music preparation to work through all the components needed to move to the next level of performance. A wide range of repertoire is accepted for this class according to the learning aims of the singer.
Martin Pickard and Susanna Stranders bring their wealth of experience working in Opera Houses across the UK, Europe and America to coach singers in the preparation for opera performance. A wide range of repertoire is accepted but please come to the class ready to work on the nuances of language, interpretation and style.
In this class tenor Jamie MacDougall explores the highly emotional and expressive German art song repertoire with strong lyrical melodies and rich harmony. Although any German Lied is welcome, baritones and tenors in particular are encouraged to bring Schumann’s Dichterliebe to this class.
There can be many variations on traditional Scottish song lyrics and tunes. In this class Jamie MacDougall explores the vast range of repertoire available.
This class is for students of the Lied at all levels, and will focus on songs by Mozart, Beethoven, Schubert & Schumann.
This class welcomes anything from the world of Cabaret or Musical Theatre with the opportunity to perform in the popular Wednesday night Lollipops Concert.
The performance class teaches how to get the most out of your aria or song – with technique tips and advice on stagecraft.
Playing Opera Reductions
A class exploring how best to play and support in an ‘orchestral’ way from the piano, whilst also examining the pianistic choices to be made when editing an opera piano/vocal score from the full score.
A class dedicated to vocal repertoire (both song and opera) in the Russian language. Participants of all language-skill level are welcome. Transliterations can be provided on request for advance preparation.
Effective Learning Techniques
This class will cover the various components required to learn repertoire from scratch, suggesting techniques to address pitch, rhythm, text, memory and basic interpretation. It will be of interest to singers (though not addressing vocal technique) and also to pianists who need to learn not only their own part, but gain familiarity with the vocal line and acquire ways of helping/coaching their singer. A piece of unfamiliar repertoire can be supplied at the start of the week as a vehicle for the learning process, but participants are also encouraged to bring any specific examples of problems that they have encountered and wish to address.
English Song encompasses a huge variety of styles, from Renaissance lute songs, via Edwardian lyrics and the 20th century revival by composers such as Vaughan Williams, to contemporary music. William Vann, Founder of the London English Song Festival, has a particular interest in this broad repertory, and in this class participants of all standards are invited to explore English song of all eras and styles.