Alumni Interview Series - Dorothy Gal

To kick off our alumni interview series, Daniela Magura spoke with CLA alumna Dorothy Gal.  Today, Dorothy can be heard on the stage of the Houston Grand Opera as a member of the HGO Studio, a renowned young artist program. 

Dorothy met Glenn Morton, artistic director of Classic Lyric Arts, during her first year of undergraduate studies at Mannes college.  She shared with us that shortly after meeting Glenn, she thought to herself “I have to follow you around the world now”.  In particular, she was drawn to his “insistence on purifying vowels and treating every note like it has its own world of colors”.  

Dorothy followed her instincts and attended CLA Italy in the summer of 2013.  For Dorothy, CLA Italy was a revelation in vocal technique.  She fondly recalls her transformative work with faculty member and soprano Donata D’Annunzio Lombardi.

“Donata came at the perfect point in my development.  She reevaluated her own technique midway through her career.  Then, she had to take time to figure out the mechanics of singing and the relationship she had with her body.  Singing is such a balance of freedom and physical strength. I’m always thinking about the things she said. It was about finding the deepest, innermost connection that you could make.  It was eye-opening.”

Dorothy was bit by the CLA bug and decided to attend CLA France the following year.  While Italy offered a foundation of vocal technique, Dorothy’s experiences in France expanded her expressive potential.  She felt especially grateful to have worked with the late Michel Sénéchal, a renowned French tenor and co-director of CLA France.

Glenn and Dorothy in France

“It gives me goosebumps to think that I had the chance to learn from Michel Sénéchal.  The way he viewed delivering text was the springboard for my love and passion of French song.”

She shared with us that, while preparing for an upcoming recital with Opera America, she has been recalling important lessons from her time in France.

“Sometimes you get so caught up in the primary colors that you forget you can start mixing things.  The palette can be expanded in such a way when the space is intimate.  You can do other vocalisms besides the most optimal production of sound.  That’s what Michel was getting at.  ‘I want you to explore more, I want you to go further, I want you to take your pianissimi to the brink of extinction’.”

Reflecting on her operatic trajectory, Dorothy expressed that CLA had a substantial impact on her early vocal experiences.

“Italy was profoundly important to my development of technique. It was really important for later on when I had more teachers to show me the way.  In Italy, I heard for the first time, really, that you need to use your body to sing.”  

“I was definitely a very changed singer leaving France.  CLA France pushed me to think more deeply about what it is I’m saying and how I’m going to deliver that.  Sometimes the way to have the most profound impact isn’t the way you would imagine.  It’s like going through a second language, to figure out how you really want people to feel.” 

Dorothy concluded the conversation by offering some heartfelt advice to young singers and future CLA participants.

“One of the most important things that has impacted my own life is to stay in your lane.  Don’t view other people’s successes as your failures.  Instead, spend your time practicing and learning: it is a better use of your time.” 

“Listen to your instincts.  I have had a long journey of knowing my voice. Every time I make a discovery in a voice lesson or coaching, I feel like I’m leveling up.  Back away from labelling yourself, and just sing.  Sing what you love, and your voice will reveal itself to you.”

CLA Italy 2019: Observations

CLA Italy 2019: Observations

I like the purple flowers that bloom right outside our apartment. There weren’t so many when we first came here. The fact that one white flower bush exists in that row of purple intrigues me.

I like saying “Ciao” every time I see someone. It’s a habit I never thought I’d pick up so unconsciously.

I like seeing Ambra every morning as I leave for classes, coachings, or staging rehearsals. She sits outside our neighbor’s house and watches us calmly. A beautiful, big dog with an amber speckled coat to match her name. She never responds when we call out to her…

I love the sound of the river at night. Going to the bridge and listening, watching as time passes slowly.

I love the stars. I’ve seen at least 4 shooting stars.

I like watching the garden by our apartment grow each day. The tomatoes going from green to red. Eggplants getting bigger. Grapes browning and shriveling as no one comes to harvest them.

The little, white wild flowers on the side of the road give me joy.

The cobbled streets make me trip more than usual. I’ve began wearing more sensible shoes.

The market on Mondays is incredibly lively (and cheap).

We have long, fulfilling days.

I love when things suddenly click in lessons/coachings; when things align perfectly. I adore learning new concepts, hearing metaphors, and learning to appreciate the art form which we study.

I love hearing about other people’s backgrounds and opinions. Getting to know people. Humans are social creatures, but often are too lazy to really take the time to get to know someone. I like that there are people here who take that time.

I love learning. I love that everyone at CLA loves learning.

I adore our instructors. They put up with us every day with only our best interests at heart. They strive to help us and for that, thank you.

I like that people share their ideas. I like sitting listening to the opinions of Maestro Paolo after a concert about his opinions and ideas on the actor-singer.

I like staring out the window at the mountains on long bus rides as we travel from venue to venue.

The drawl of Illaria’s “Allora” in Italian class early in the morning gives me happiness.

I love the Teatro. It has incredibly acoustics and now, so many precious memories.

I hate that my time at CLA Italy is coming to a close.

Written by Arthi Nandakumar

CLA Italy 2019: Trip to Pennabilli!

CLA Italy 2019: Trip to Pennabilli!

I walked from my apartment to the piazza with my roommate. The sun was beating down hard that day so I made sure to cover myself completely in sunscreen, wear a large hat, and bring my new fan (I may have looked a little ridiculous). The plan for the evening was to meet at the piazza and then take a twenty-minute bus ride to a town called Pennabilli.

We had talked about the excursion a bit in our Italian class that morning with Illaria, our wonderful instructor. She had explained the gist of the itinerary, and it seemed that we would be going to what appeared to be similar to an open-air museum. As an admirer of art I was already excited for the trip, though that feeling was damped slightly by the prospect of having to hike quite a bit (we were informed that the area is quite mountainous). Nonetheless, that afternoon we were gathered on the bus and headed down the very windy road to Pennabilli regardless of my lack of physical fitness.

Having just finished Italian class, a coaching, and a rehearsal all back to back, I was quite fatigued and ended up knocking out pretty immediately following our departure (seems to be a trend with me). Twenty-minutes seemed to go by much too quickly, and the slowing of the bus alerted me awake. We got off the bus, and as I shielded my eyes from the sun, I took my first good look around.

I thought the view in Novafeltria was amazing.

I was not ready for this.

I wish I could accurately depict the grandeur of this place, but no words could ever truly do it justice, which is why I will attempt, with my meager ability, to paint an image that creates at least a shadow of what we saw that day.

Green.

So much green. All shades. Evergreen, lime green, emerald, etc. covering every inch of the landscape. We were surrounded by mountains, but if Novafeltria’s mountain reminded me of a hug, Pennabilli’s mountains were a force of nature enveloping and knocking the breath out of us with their majesty. They seemed to go forever. When one mountain dipped down, another sprung up from behind it. It was overwhelming. Crushing awe stopped us in our tracks multiple times as we attempted to get anywhere in town, and I tried to sear the image that seemed to be mother nature’s greatest masterpiece into my mind.

We distractedly made our way up the street (literally stopping every couple of minutes to take pictures), and finally arrived at our first destination, the house of the late Tonino Guerra. I honestly had no clue who this man was or what he did when I first entered his house, but I think we all left with so much appreciation for Mr. Guerra, and I, at least, was completely enamored. Upon entering his place, his wife welcomed us with the warmest smile I’ve seen in a while. They had converted their house into a mini museum filled with Mr. Guerra’s artwork, poems, and films. The furniture itself was art. All around us were nature motifs. Cabinets made to look like trees, butterfly paintings covering the ceiling, a large leaf sculpture occupying a quarter of the room carved with such intricate detail. Every piece in that house appeared to be a piece of art and there was some fantastical element to it. Many people commented that the whole atmosphere reminded them of something out of a fairy tale and I’m inclined to wholeheartedly agree.

But the fantasy did not end there.

If you have ever seen a Studio Ghibli movie, think of something in that vein.

If not, once again, here is my poor attempt at describing his garden.

Plants caught on our clothes as we made our way up the narrow, windy path. We were surrounded by plants of all kinds. Lavender, rosemary, and pine filled our noses. The fresh air and cool shade provided by the trees around us made the trek more bearable. I looked up from my feet (I was trying really hard not to trip), and started noticing sculptures popping up. The beautifully carved, round, white stool with Italian inscriptions on them. A little pond. Cats appearing left and right. A meditation garden secluded from the rest of the world. A mystical sense filled the atmosphere.

Once we were out of the garden, we continued to walk up a hill ignoring the burning in our calves and thighs. My excitement kept the energy in my body going, but upon reaching the top, new life seemed to surge through me. The mountains that we had seen on our walk to the museum and garden were now in full view surrounding us. A clear view looking down on the town made it seem so insignificant in comparison to the nature around it. Aeolian harps sounded as the cool, fresh breeze hummed through them. I felt dizzy. This was the scenery that was painted in the background of da Vinci’s Mona Lisa. I slowly tried to take everything in walking around multiple times and seeing something new each time. Bells chimed every so often. A bird glided through the air. A mountain shaped like a corkscrew stood in the distance. Small towns looking like a couple of dots on a painting spotted the horizon.

We had to be dragged away.

Reluctantly, we arrived back in town. We saw more gardens. Raspberry bushes, pear trees, figs. An antique chamber where women used to wash their clothes, a sun dial, a sculpture of a large snail, a beautifully painted arch. There never seemed to be an end to the fantasy. But like all fairy tales, this one also had to come to an end.

Before we knew it, we were back on the bus headed to Novafeltria. My exhaustion caught up and I conked out (what was that I said about a trend). I had to be woken up upon arrival, and I swear, Pennabilli really did feel like a dream.

Written by Arthi Nandakumar

CLA Italy 2019: Mondays in Novafeltria

CLA Italy 2019: Mondays in Novafeltria

I thought I knew what hectic meant.

When I say that almost two weeks have passed in a blur, I mean that I literally don’t know what day it is anymore. As many events have occurred between the first post and now, I will try to briefly share with you some events that occurred over the first week of CLA Italy.

Firstly, Novafeltria Mondays are market day.

I thought I could anticipate what this would mean and imagined something on a small scale with a couple of fruit stands and some other miscellaneous booths. When I woke up that first morning, I groggily dragged myself out of the apartment and made my way to the streets. I soon realized that whatever small scale market I had in mind was not the reality. Racks upon racks of, colorful clothing were put out, every kind of shoe on display, and piles of fresh fruit and vegetables filled our vision. Purses, fans, jewelry were placed neatly in rows and the smell of food filled my nostrils. There seemed to be no end to the variety of merchandise and each stall seemed to have something different. The town was completely unrecognizable from the day before and was filled with smiling faces glazed with sweat from setting up shop in the summer heat. Loud chatter filled the air and as we made our way through the many stalls, it became difficult to decide what we wanted to buy. Eventually, even despite the language barrier (I knew literally five words in Italian, but the vendors were super patient and understanding), we were finally able to purchase several items for an astonishingly low price (which made my bank account very happy).

In the past week, there has been already been enough opportunities to explore the area. Not only that, but evenings in Novafeltria sometimes bring unexpected and exciting things. One of these was a fashion show in the main piazza one night. Several of us had heard about “la festa” in Italian class that morning but knew little about it except that it was occurring that night. When we arrived a large, scarlet carpet sat in the middle of the square leading up to a small stage with live music. The area was filled with chairs, and as the sun set, people slowly started filing in. We took a gander at the little booths that had popped up and soon all the seats were filled and an amazing display of live sand art began. This was followed by many other events (some I didn’t get to see, but I saw the belly dancers somewhere in the piazza), and as the night reached a climax, the fashion show started. Amazing, almost “campy” outfits were put on display. We saw gorgeous gowns that were reminiscent of tables with full silver wear atop them and other glorious oddities. But the festivities didn’t end there as the next night there was a small circus show. We watched as someone balanced on top of plates and when a life-sized robot came out and started dancing I didn’t even know what to think anymore, but boy was it a blast.

With the exception of Monday mornings (and all evenings), Novafeltria can be a considerably sleepy town during the day. However, I’ve found that this is by no means a problem, especially with the schedule that participants of CLA Italy follow. A typical schedule may consist of 9:00 am Italian Class, followed by 3 half-hour rehearsals and a 45-minute coaching. This does not include masterclasses, movement classes on other days or even just personal practice time. With such jam-packed days and the non-stop influx of transformative information, it was no wonder that I felt as though I had grown so much already as a performer and musician in the first week.

As of right now, we have had masterclasses with the wonderful Piero Corradino Giovanni, Sandra Hormozi, and Yunah Lee. I’ve always loved attending masterclasses as there is so much to learn just from watching your peers and seeing how other professionals approach similar issues. Mr. Giovanni’s input on how to create a beautiful Italian legato and vowels, Ms. Hormozi’s advice on what to do in the professional world and how to present yourself, and Ms. Lee’s insight on connection to character and text became a powerful catalyst for discussion and thought.

Some food for thought:

There is such joy in music. Oftentimes, when we get into the grind of a chaotic week or an upcoming performance, musicians can fall into a practice stupor where we simply go through the motions of what is “necessary.” But what is necessary? Is it to have all the notes and rhythms correct at all time? To never crack on a high note? To get through a piece of music following every single written direction and singing perfect legato? Sure. However, something I learned, and something I believe in is that one must really want to learn. Delve into the history of the piece. Ask yourself— why THIS dynamic marking as opposed to another? What was important about the subject matter of which I am singing in relevance to the age in which it was written and (maybe even more importantly) why is still important now? These tools are also a necessity, and when you are surrounded by wonderful teachers/mentors who are so passionate about what they do, it inspires you to really remember why and how to love music. 

Written by Arthi Nandakumar

CLA Italy 2019: Welcome to Italy!

CLA Italy 2019: Welcome to Italy!

I groggily opened my eyes as the growing chatter and the slowing of the bus seemed to signal the end of our journey from Bologna. The combination of jet lag and what seemed to me a superfluous amount of air travel and layovers is incredibly effective in knocking out a person for extended periods of time. Thus, in my state of tired confusion, I had no inclination as to how we had possibly arrived so quickly and was only slightly bothered by the prospect that my nap had been cut short.

As I fought the instinct to rub the sleep from my eyes (smudged mascara is not cute), I finally took a good look at our destination. Immediately a wave of excitement blew away any remaining exhaustion that hindered my ability to fully immerse myself in my surroundings.

The first thing I noticed was the fountain. A beautiful, clear fountain sparkling in the middle of the piazza. Then it was the buildings. You always see pictures of Italy and fantasize about walking down the cobbled, picturesque streets with the sun in your eyes, a cool breeze giving a moment of relief from the summer heat, locals shouting “Ciao!” or “Buongiorno!” to each other from across the way. The idea of being able to actually live that fantasy for almost a month had me itching to get off the bus.

And then I saw the mountains.

Breathtaking, majestic, sprawling, green mountains surrounded the city in what seemed like a warm hug evoking feelings of awe and also a strange (but not at all unwelcome) sense of safety. All my senses were flooded with the scene before me. Crisp, dry air filled my lungs and it the realization finally hit.

We were in Italy!

I was soon brought back to my senses at the sight of a group of locals awaiting our arrival. Smiles beamed on both ends as we approached and greetings were promptly exchanged. Glenn called out our names and we were all sent off with our respective host or guide to our apartments for the trip. I walked along with my housemates up a hill and soon entered our living quarters. A beautiful place reminiscent of a super fancy suite with living rooms, dining table, kitchen, gorgeous backyard, and two cozy bedrooms. We quickly began to explore every nook and cranny of the apartment and discovered it to have almost everything we needed. It felt incredibly warm (both figuratively and literally) and after getting to know each other and unpacking already began to almost feel like a home away from home.

Just as the jet lag began to hit hard, all the participants of CLA Italy went to the Checco, a beautiful little restaurant with outdoor seating and lighting that was out of a dream. The cool evening breeze helped lift our tired spirits and our night of feasting began! Introductions were made and MANY dishes served. Loud, joyful conversations ensued with laughter and delicious aromas filling the evening air.

As the sun set behind the mountains painting our surrounding a warm, orange glow, our first night in Novafeltria came to a close. Faces glowing with excitement and possibly sweat (probably sweat) we headed back to our respective residences and turned in for the night looking forward to the work that would already begin tomorrow.

Welcome to Novafeltria.

Welcome to CLA Italy.

Written by Arthi Nandakumar

CLA France Blog: Final Concerts

The last week at CLA France is hectic yet exhilarating.  In the first two weeks, we work on specifying our vowels, cleaning our French diction, and finessing musical details.  Once the concerts begin, our hard work is put to the test.  Personally, I can fall into a bit of a practice obsession when I take part it in intensive studies.  With all my necessary improvements in mind, I find myself preferring to practice in solitude then to present my new skills in public.  

This is how I felt when the concerts approached: hesitant to perform.  However, the concerts proved to be the perfect opportunity to test out, and, in fact, practice our recently acquired lessons.  Moreover, the sheer quantity of concerts allowed me to feel comfortable taking risks and experiment with my voice and musicality. 

For an idea, here is the schedule of public events during the last week of the program.  (This does not include the first two concerts that occurred slightly earlier, as well as continued classes during the final week)

Wednesday, June 19 - Concert at Abbaye de Saint-Avit-Sénieur
Friday, June 21 - Public Masterclass at L’église Saint-Dominique de Monpazier
Friday, June 21 - Concert at L’église Saint-Dominique de Monpazier
Saturday, June 22 - Concert at L’église de Naresse
Sunday, June 23 - Concert at L’église de Cadouin
Tuesday, June 25 - Concert at Les Jouandis (our house!)

For the final concert, we performed at our own house as the ideal farewell.  We were immediately shocked that the audience filled our satellite building - since Les Jouandis is isolated in the countryside, it is hard to believe that a full audience of opera-appreciators would find themselves there.  We really shouldn’t have been surprised.  An enthusiastic audience filled each of our concert venues, with numerous repeat attendees.  There is clearly a special community that looks forward to the CLA concerts each year - I like to call them our CLAudience.  ;)

The staff successfully transformed the room which we affectionately call PPP (after the Ping-Pong and Pool tables that are inside) into a beautiful and intimate concert venue.  It was hard to believe that long days of rehearsals and late nights of games and wine took place in the same room that was then our elegant concert venue. 

The room featured a long walkway for the singers to enter and exit, which felt like a grand celebration as we passed our teachers and mentors after performing each piece.  There was a special energy in our green room as each of us cherished the opportunity to collaborate one final time.  The concert concluded with a resounding standing ovation, but the night was not over yet!

After the last concert, we always invite the audience to remain at the property and enjoy a grand garden party.  Champagne, hors d’oeuvres, and revelry filled every inch of the house’s exterior.  We enjoyed a wonderful meal with the audience, which happened to include my parents.  I was so grateful to be able to share my experience with them and also hear about their experience as audience members.  I think it is wonderful that the CLA staff is so accommodating and encourages the audience to feel like part of our musical family. 

Naturally, there was more music to be had.  I turned around for one moment, and the next, there was an electric keyboard outside ready to accompany singers for an impromptu garden concert.  Somewhere Over the Rainbow kicked off the light entertainment, followed by favorites from Carmen, Don Giovanni, Porgy and Bess, and even some popular Mexican music.  Requests were being made and one person noted that it felt like an “on-demand karaoke event”.  I found the spontaneous singing to be extremely heartwarming, as an indicator that this group of singers truly loves to sing.  It reminds me of Gaspard’s encouragement to “take pleasure in the music”, and I will certainly remember these moments of levity as I move forward in my career.

Photo by Elina Akselrud - elinaakselrud.com

CLA France Blog: Agents Visit the Chateau

Agents Visit the Chateau

Following Mireille’s intense visit and three consecutive concerts, we woke up on Monday morning prepared to sing and work with two French opera agents.  Olivier Beau and Hervé Le Guillou, our guests for the next few days, co-founded their agency, BLG Artist Management in 2007. Their visit marks the first year that CLA France has hosted agents as part of the course’s offerings, and I think that the new opportunity was a grand success. 

After attending our Sunday night concert at L’eglise de Cadouin, Olivier and Hervé received a taste of what our singers are about. Glenn and Mina strategically planned the day’s schedule so that we would have our final coaching of the program shortly before our session with the agents. I found this time to be a wonderful opportunity to revisit key vocal concepts with Glenn one last time.  I’ll speak more to this in the final posts, but I’ll briefly share that, as I conclude my CLA studies, I’m surprised by how much my voice has grown over this short, intensive period.  I am grateful for the impactful coaching from each faculty member.  

There was a bursting energy, and a bit of humor, flowing through the house, as we heard non-French music filling the rooms.  The agents asked us to prepare 2-3 arias, which meant that, for the first time, we needed to prepare repertoire in other languages!  Personally, I really enjoyed hearing iconic Mozart melodies floating through the hallways.  This repertoire is more familiar among us than many French arias, and I witnessed (and took part in) lip-syncing and dancing as our colleagues refined their signature arias.  In one of my arias, Papageno’s Suicide Aria from Die Zauberflöte, Papageno counts to three - “Eins, Zwei, Drei” as he waits for his soulmate, Papagena, to appear.  During my coaching with Glenn, I heard some of my friends calling down the numbers from upstairs!  I remembered these moments of levity when I was feeling slightly nervous singing for Olivier and Hervé.  It was a gentle shock to sing in another language after three weeks of French intensity.  I found myself doubting my German accuracy, but Johanna, a German native, assured me that my German was up to snuff.  

My individual time with Olivier and Hervé was filled with kindness and wisdom.  They welcomed me into a warm, casual environment, and I felt comfortable performing my arias for them.  Afterwards, I enjoyed hearing their feedback.  Their comments were very constructive, and I agreed with their perspective.  I appreciated that they made an effort to thank me for singing and to identify specific aspects of my performance that they enjoyed.  It was interesting to hear where they disagreed - for me, this addressed my decision to act out the theatrics of my Mozart aria.  While Hervé recommended a simpler rendition, Olivier enjoyed the physical details that I brought to the aria.  Moments like these remind me that, as a performer, I must ultimately tell the story that I feel is important to tell since it is impossible to please everyone in performance.  

In addition to joining us for individual sessions, concerts, and meals, the agents presented important information about European management to the singers Tuesday morning.  I was not sure what type of information would be presented and was surprised by the great breadth of topics covered.  We discussed different rates of agents across countries, audition tips, lifestyle difficulties, and more. I appreciated the career advice, but, as a younger singer not yet prepared to seek out management, I resonated even more with the agents’ encouraging outlook on the life of a singer.  They demonstrated a strong passion for their work, including a deep care for the singers that they represent.  They stressed that an artist’s entire life should take precedence over the limited importance of furthering one’s career.  Instead of pushing their artists to pursue as many engagements as possible, they encourage singers to take time for themselves, whether it is for vacation or one’s family.  This is so reassuring because young singers often hear about the many sacrifices that they must make to secure a professional career.  Of course, sacrifices will be, and already have been, prevalent in our artistic paths.  However, it is comforting to know that there are administrators who will assist us in placing boundaries between our careers and our personal lives.

With excitement for the future, confidence in ourselves, and motivation to improve our craft, we bid a warm farewell to Olivier and Hervé.  

CLA France Blog: Masterclass with Mireille Delunsch

You may have noticed that I haven’t posted any new content in a while - this is definitely not because there has been nothing to report!  In fact, we have been so busy with noteworthy events that it has been impossible to find time for writing.  Recent highlights include several beautiful concerts, working sessions with French agents, and, what you’ll read about today -  masterclasses with a renowned French soprano.  I will roll out my final blog posts over the next few days, and I’m so pleased to share the events of our final week with CLA France.  

Mireille Delunsch offered three days of masterclasses.  Having sung at many of the world’s major opera houses, Mireille offers a wealth of experience and talent to her students.  One fact that I find unique and inspiring about Mireille is that she has not limited herself to repertoire within a single fach, or specific voice type.  The fach classification system is typically used as a means of identifying the repertoire that is ideal for a singer’s voice, but Mireille’s resumé covers a wide range of music, from baroque to contemporary.  

The working sessions were a challenging and thought-provoking experience for all.  Each day featured four singers, and the second day of singers took place in L’eglise Saint-Dominique de Monpazier as a public masterclass.  Before the singing commenced, Mireille took the time to introduce herself and prepare us for the work that lay ahead.  Sharing a bit of her vocal history,  she humorously recalled her singing voice before any training, and she proudly noted her ability to improve through hard work with her first teachers.  I always appreciate hearing about a successful singer’s humble beginning - it reinvigorates my dedication to develop my own voice and reaffirms the value of transformative training programs like Classic Lyric Arts.  Mireille also emphasized the importance of a work’s text, and therefore, the story that is being told through the composition.  She believes that our first duty as singers is to honor the text and that our voice, and technique, is simply a medium through which we can communicate effectively.  This was a beautiful reminder of why we must train intensely in order to express ourselves in the most clear and compelling manner.  

Learning from Mireille is no walk in the park.  She has a very structured concept of vocal technique and is passionate about sharing her method with young singers.  As soon as each singer finished their aria, it was time to work.  Much of Mireille’s work centered on technical concepts that would further secure each singer’s voice.  She focused on concepts of support, high placement, and efficient singing.  One repeated topic was her insistence on creating the most resonant sound possible with the most efficiency possible.  This is an essential component of vocal technique that will allow a singer to fill a large opera house without placing physical strain upon their instrument.  Having sung at major opera houses, Mireille understands this need first-hand.  In additional to technical tweaks, the classes imparted invaluable musical wisdom.  A particularly important concept was the placement of stress within French music.  Mireille explained that there are often textual stresses in musically weak locations.  We used Micaëla’s aria in Carmen, “Je dis que rien ne m’épouvante” as a case study. She explained how clarifying the linguistic rhythm can help to establish an interesting hemiola feel within the famous aria’s first line. 

After an intense three days with Mireille, we had definitely learned a lot about the voice and French music.  It was rewarding to experience these classes together, as I found myself and the other singers bouncing questions off of each other.  “How did you interpret her concept of support?”  “What did you hear change in my voice when I was singing?”  Since many voice teachers in the United States treat singing so differently, this was an opportunity to learn from and about each other.  I finished the classes feeling grateful for Mireille’s words of wisdom and for the singers’ thoughtful reflections.  

CLA France Blog: Artist Spotlight - Elina Akselrud

Today’s post spotlights one of the wonderful staff members and pianists, Elina Akselrud.  She has been an invaluable asset to the CLA team through the many different roles that she fills.  I enjoy the artistry that she brings to music-making through her independence as a solo pianist and the sensitivity that she offers as a collaborator.  I hope you enjoy reading a little bit more about her experience.  Look forward to posts about our wonderful concerts and faculty guests in the near future!

Where were you born and where did you live now?
I was was born in Sumy, Ukraine and grew up in Kyiv, Ukraine since the age of 7.  I moved to NYC with my family when I was 15, finished high school and got my BM and first MM in Piano Performance in NY (Mannes) and Boston (NEC).  Then, I moved to Europe to continue my studies in Florence, Italy and Lucerne, Switzerland.  I still live in Lucerne at the moment but will most likely move somewhere again very soon. 

Which languages do you speak?
To be honest, I speak none on a native level. However, I regularly use six languages in my everyday life, all on different levels.  English, Russian, Ukrainian, German, French, Italian.  More to come!

Why did you decide to study in the United States?
My family moved there so that my younger brother and I would have more choices and opportunities: a real immigration story.  It was a major decision that my parents made, leaving all of their own past behind, knowing zero English, and barely having traveled abroad beforehand.   I am more and more grateful for it every year: it gave me a huge jump start and a taste of real freedom.  Thanks, Mom and Dad!

How did you come to be a part of CLA France?
A long time ago when I was doing my Bachelor's at Mannes I heard about Glenn Morton and his Song Interpretation class from my very close friend, a singer who studied with him.  The course subject seemed to be really interesting and I wanted to explore it deeper, so I approached Glenn and asked him if I could take his class.  He said he had no space in class, but I kept following him and asking if I could at least sit in and listen.  Luckily, someone dropped the class and I was allowed to take it at the end.  A few weeks later, CLA was approved as a non-profit, and Glenn asked in class if we knew anyone interested in graphic design.  Since I have some background in the visual field, I took the challenge to design the logo and the stationery.   Meanwhile, he invited me as a pianist to CLA Italy, and I have been working with CLA on occasion ever since.  I always wanted to come to the French program but until now, the scheduling has been too difficult.  It finally happened this year!

What is your favorite part of being a pianist here?
My favorite part is making music with the wonderful young artists.  I love discovering new abilities, talents and 'shades' of each singer's voice and learning from the renowned coaches.

What is it like to fill multiple roles here?
Well, this is something I am quite used to by now, as I generally do multiple tasks in my life, career, and especially in my own projects.  Sometimes it feels like a huge load, but it is always interesting to be involved in different things.  For example, here in France, I am playing loads of new piano repertoire, taking and editing photos and videos, learning French, and more. I feel that every experience adds up as a skill and makes me more profound both as an artist and a person.

What has been your favorite moment so far?
The most rewarding time is when all our hard work transforms into the magic that clicks together on stage!

What has been the funniest moment so far?
When singers invent nonexistent words in French, I can watch Raphaël (actively mouthing) and Gaspard (gently conducting) in the first row during concerts.  This is even better when I get to page turn and can actually see the audience.  Hilarious!

Anything else that you want to say?
I am grateful and truly honored to be part of CLA and to work with all the teaching and student artists here.  I wish every one lots of success and to never stop self-discovery!