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The 22Nd Edition of Aria

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The newsletter of the Kiri Te Kanawa Foundation Dame Kiri comments … ISSUE 22 | DECEMBER 2016 I’ve heard only great reports from our no longer there and the opportunities trustees and the tutors who led the first for young singers are much less with far module of The Kiri Programme (reported more competition than I had. You have on later in this newsletter). Kathryn Harries to be the stand out from the start, have (Programme Director) told me she was the voice, languages, style, interpretation, very pleased both with the selection of looks, repertoire, maturity, etc. And you singers the tutors had to work with, and will need the right visa, accommodation with the organisation of the module. The and a singing teacher who is right for you six talented and highly-motivated young plus £30,000 sterling minimum per year singers all worked very hard throughout the for perhaps 4 years of study. I now say to week learning not only from the tutors but young singers considering an international from each other. Now everyone is looking career – make sure this is truly what you forward to the second module in December. want to do and remember this profession During a recent visit to Australia I was chooses you – not the other way around. invited by the Melba Opera Trust to give a I’ve had regular contact with the singers master-class to 4 students – these singers we are supporting in the UK. James Ioelu, were well into their careers, one was a very Phillip Rhodes, Thomas Atkins, Kieran CREDIT JOHN SWANNELL young bass baritone. They all sang well but Rayner, Julien Van Mellaerts, Jonathan obviously they have a lot more to learn Abernethy, Bianca Andrew and Edward Welcome to the 22nd which got me thinking. Looking back I have Laurenson are all working incredibly hard. edition of Aria always felt that I should have learned more Each and every one of them is on a mission but there was never enough time – so much and totally focused on their goals. I’m so Featured in this issue . travel, learning new roles, arriving at new very proud of them all and you will be too The Kiri Programme 2-3 opera houses, feeling jet lag (but never when you read their news. – first module provided intensive tuition having to admit to it), working with new Finally a personal experience that I’d like to colleagues, new conductors and finding share. On my way back to the UK I met my Singers to listen for 4 accommodation that was suitable. How do son & daughter in Japan to celebrate their 2016-17 Kiri Te Kanawa 4 you tell a young singer all this in the time respective birthdays. When I arrived at my Foundation (UK) Cover Awards announced allotted for a master-class? hotel I noticed I’d lost my wallet (obviously After the Melbourne master-class I gave in the taxi) which had EVERYTHING in it! Two great antipodean sopranos 5 recitals in Bendigo and Ballarat – recalling I was considering my next move when the have much in common that it was 50 years (almost to the day) taxi driver returned it to the hotel – not News in general 5 where my career started – having won the a single card missing not a single dollar Singers supported by the 6-9 Melbourne Sun Aria in 1966. Hmmmm.... missing. Relaying this story later to a Kiri Te Kanawa Foundation I’m asked regularly to give advice to friend I had to say ..‘only in Japan’. They are aspiring opera singers. These days I have amazingly honest... once again most happy to be brutally honest and say the singing memories. profession that I knew and worked in is 1 “They are all extremely gifted, not only vocally but also with musicianship and dramatic skills that bode very well for the future.” ELIZA BOOM, KATHERINE MCINDOE, MADISON NONOA, NATASHA WILSON, JARVIS DAMS & FILIPE MANU. The Kiri Programme – first module provided intensive tuition The top three places in the Dunedin Aria Competition finals in September went to young singers fresh from their first “module” of the Kiri Te Kanawa Foundation’s new singer development programme. Tenor Filipe Manu took top honours, followed by sopranos Natasha Wilson and Madison Nonoa. The Kiri Programme Administrator, Stephen Dee, says the results, and feedback from the first module, provided ‘proof of concept’ that a small group of talented and motivated singers, given intensive tuition and support from highly experienced and KATHRYN HARRIES (PROGRAMME DIRECTOR) & KATHERINE MCINDOE. extremely competent coaches, will make fast progress. “This was the experience of all our young singers, each of whom grew in confidence during the week as they cracked technical problems, and improved their preparation and performance techniques. We couldn’t be happier both with our selection of the singers being given this unique opportunity and with the extraordinary group of tutors who have joined us for the Kiri Programme.” According to Kiri Programme Director, Kathryn Harries, who is director of the National Opera Studio in London, all six singers selected by Dame Kiri and her panel to take part made “major strides” during their intensive week. “This programme has catapulted these six youngsters onto another plane of learning and application and they were hugely inspired and enthusiastic about the new tools we gave them.” ELIZA BOOM WITH TERESA DESMARCHELIER (LANGUAGE COACH). 2 PHOTOS: CALVIN BAKER “To be given such high level information at this stage in their development is essential if they are to progress safely at overseas conservatoires and on young artist programmes.” “They are all extremely gifted, not only vocally but also with musicianship and dramatic skills that bode very well for the future. They are very young and the aim of the module was to work at as high a level as possible in order to advance their vocal techniques, interpretative skills and awareness of the many demands of the profession. “The main thrust of the week was the importance of working in the greatest detail on the text of songs and arias and paying absolute attention to the musical demands of the composers. Without this fundamental and vital work, singers make mistakes which rapidly become obstinate habits which, in turn, have to be painstakingly unlearned – and that is both intellectually and physically a complete waste of time and effort. “To be given such high level information at this stage in their development is essential if they are to progress safely at overseas conservatoires and on young artist programmes. Too many singers lack this vital information about practice strategies, minutely detailed examination of the text and the music, dedicated hours in front of a mirror to perfect vocal technique and the delivery of text correctly and on support.” One of the participants, soprano Eliza Boom, says the week will change the way she approaches all her music, a sentiment echoed by Wellingtonian participant Katherine McIndoe. “It’s going to MADISON NONOA, JARVIS DAMS & FILIPE MANU. change the way a lot of us learn our music, giving us the tools to prepare more effectively for the work we are going to do ourselves.” “It was a phenomenal experience,” says Hamilton baritone Jarvis Dams. “An amazing opportunity”. He says the tools learned in the module will allow the young singers to study when they don’t have coaches, and in their own time. “It was all about being self- sufficient, becoming your own teacher, and that is truly unique. All six of us agreed that was something we’ve never experienced in our lives, to be given the tools to be your own coach. With the individual plans and support, this is a truly unique programme.” As the five modules advance between now and next July, the international and New Zealand-based tutors will range across the business, musical, language and personal skills needed to succeed in what Dame Kiri has called an increasingly tough career. The overarching theme of the next module in December will be dramatic interpretation and stagecraft. It will be under the direction of one of the world’s leading stage directors of opera, Chuck Hudson, who is being flown from the USA by the Kiri Te Kanawa Foundation. “Dame Kiri has given these six singers the chance of a lifetime,” says Kathryn Harries. “She should be applauded for her dedication to the development of New Zealand vocal talent – it’s extraordinary.” NATASHA WILSON WITH LANGUAGE COACH TERESA DESMARCHELIER. 3 2016-17 KIRI TE KANAWA FOUNDATION (UK) COVER AWARDS ANNOUNCED In 2014 in recognition of Dame Kiri’s 70th birthday and her long professional association with Covent Garden the Kiri Te Kanawa Foundation (UK) announced a grant of £70,000 to be used by The Royal Opera House to allow selected Jarvis Dams, Katherine McIndoe, Anna Dowsley & Jonathan Abernethy. artists to take on cover roles where ROH might not normally have a cover in place. The two singers selected Singers to listen for for the 2016-17 season Cover Awards are: Earlier this year the Kiri Te Kanawa Foundation, in PHOTO: MIKE HISON PHOTO: partnership with the Rotary Club of Wellington, hosted a very special concert at St Andrews on the Terrace in Wellington. John Boshier, Director of Rotary Club of Wellington filed this report. The concert whilst being a celebration of young singing talent was also a unique fundraiser for medical research and for the Foundation itself. It was an outstanding success, with a capacity audience enjoying wonderful music and giving generously to the charity, the Gillies McIndoe Research Institute for cancer. The initial ‘Singers to Listen For’ concert staged in 2015 was the brainchild of Rodney Macann (a Foundation trustee) and was so successful that a second concert was developed.
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