The class of 2006 at the Solti Accademia La dolce vita

During an intense fortnight on the Tuscan coast, budding opera stars from all over the of the Accademia to potential End Opera, does two days of drama sponsors, but Lady Solti herself is coaching, and Italian language is world discover that in Italy bel canto is more very involved, taking a personal polished by the precise, organised interest in the progress of the Pepi Ferrari and the livewire Cor- than a style of singing – it’s a way of life. singers and appearing in public to radina Caporello, a teacher at the Amanda Holloway drops in on the participants promote the course. A highlight of Juilliard and Curtis Schools. this year’s session has been a day Singers this year come from as they are put through their paces… of relaxation for the singers in the China, Japan, Mexico, Sweden, swimming pool and grounds of Poland, Canada, Russia and Great the Solti villa. Britain, and pianists from South t’s a late August afternoon in the much for their resilience as their If it sounds luxurious, the Accad- Africa and New Zealand. According Iseaside town of Castiglione della wonderful voices (‘that goes with- emia is actually run on a shoestring, to the coaches, each nationality has Pescaia, Tuscany. Light streams out saying,’ Jonathan Papp reminds reliant on goodwill and the energy its own problems with Italian. For through the window of the small me). An international pianist and of chief executive Candice Wood. A some it’s the pronunciation of the library where Mirella Freni, one of accompanist and vocal coach at the charming, tenacious English consonants – Chinese speakers can’t the world’s greatest bel canto Royal Academy of Music, Papp set brunette married to an Italian, hear the ‘l’ and the ‘r’, the Dutch and sopranos, is giving a masterclass to up the Accademia with Italian lan- Wood is adept at cutting through Russians sing from halfway down a group of young singers. Swedish guage coach Emanuela (Pepi) Fer- bureaucracy and using her personal the throat, and the English with mezzo Matilda Paulsson is the stu- rari in 2004, and has been refining connections. She has drummed up their clenched jaw and clipped con- dent under the spotlight. ‘No! Not and expanding it since then. financial support from the local sonants tend to cut off the line of like thees, your mouth must be like Castiglione della Pescaia is a per- commune and businesses, and indi- breath that is so necessary in bel thees’; Freni mimes an O shape… fect place to ensure total immersion vidual sponsors. But her great coup canto. Says Caporello, ‘The Russians ‘not EEEEE [she makes a strangled in the Italian language. The singers has been to attract the interest of the use their whole body to make a big chicken noise]. That is too much in are plunged into the Italian way of Nando Peretti Foundation, which sound. In bel canto they have to find the throat.’ Paulsson tries to follow life – the leisurely three- or four- gives mainly to humanitarian, a sweeter voice.’ It took Vladimir Young artists: Solti Accademia di Bel Canto Young her instructions. ‘Is a little better, course meals of antipasti, pasta and wildlife and environmental projects. Tselebrovsky ten days, and a lot of but you steel drop.’ Freni grabs her fresh meat or fish, the breakneck It is now looking to expand into angst, to find this ‘sweeter voice’, chin and holds it in position while driving, cursing and hooting on the education, and the Accademia, with but when he did, he was delighted. ‘I Paulsson starts her Bellini aria narrow streets. Emotions are its brief to give overseas singers the don’t know how to thank you,’ he once again. The sound is forward always big, noisy and obvious – just chance to learn Italian repertoire said to her. ‘In Russia we have no and focused for a while, but loses like in opera. As Italian language and culture, is a good start. So far opportunity like this.’ momentum. ‘No! Flat. Up,’ Freni coach Corradina Caporello keeps the Foundation’s contribution has commands. From the piano, vocal reminding the students, Italians been modest, but Simonpietro fter ten days of concentrated coach Jonathan Papp says sooth- wear their hearts on their sleeve. Cussino says they are discussing Acoaching, the singers are ingly, ‘Just a tiny bit more.’ At the plans for a repetiteurs’ course, a ready for masterclasses with the end of Paulsson’s session, Freni astiglione was the favourite winter Accademia, and a worldwide ‘superstar’. Last year it was Dame announces, ‘Bellissima voce, but Choliday home of Sir Georg recital tour for course graduates. Kiri Te Kanawa, who discovered needs to be more libera.’ Solti, and his widow Valerie is still Students are asked to pay their an unexpected flair for teaching. It’s day nine of the Solti Accade- a prominent and popular figure in own travel and pay a few hundred This year Pepi Ferrari has man- mia di Bel Canto, a ‘total immer- the area. When arts administrator euros towards the course (which is aged to capture the busy bel canto sion’ course in Italian language, Candice Wood approached Lady probably worth €6,500 per student). soprano Mirella Freni, who is also music and the Italian sensibility. At Solti with the idea for the Accade- In return they get three weeks of a family friend from Modena. The moments like this, singers must ask mia, she immediately offered the tuition by top teachers, masterclass- singers are all very excited, but themselves why they ever got into support of the Solti Foundation. es with a diva, four public concerts apprehensive, as well they might opera. But they have been chosen as The Solti name helps sell the idea (three with orchestra), publicity be. La signora Freni is a human photos, 30 copies of a CD recorded dynamo – feisty, physical and Looking for the perfect mouth-shape: at the concerts, and a showcase relentless. Her fantastic tech- Mirella Freni in action recital in London. And as Papp nique – the result of constant points out, they also get to work up hard work, she points out – audition arias with several teachers, allowed her to sing well into her which could help impress an agent. 60s. Now she gives masterclasses For the first week, the timetable all over the world, as well as at includes 30-minute individual ses- the institute in Vignola she and sions with Jonathan Papp (the ‘best her husband, Romanian bass singing ears in the world’, according Nicolai Ghiaurov, started two to Paulsson) and Paolo Speca, head years before his death in 2004. of the vocal faculty at Pescara Con- The essence of her teaching servatoire. Shirley Keane, from East seems simple – to produce the

30 Opera Now NOVEMBER/DECEMBER 2006 right sound in the right part of the joking, but if they do something successful professional cellist now have a chance to improve on their mask (the ‘casa harmonici’, as she with no discipline, I change imme- hoping to exploit his attractive performance in three more concerts calls it), with the right mouth- diately. They need this, the young baritone, and New Zealand pianist with the Grosseto orchestra, in Cas- shape. Everything she does is ones. It’s a very hard career and it Kirsten Simpson. Two wild cards tiglione, Grosseto, and finally the directed at getting singers to relax needs incredible discipline, incred- are a couple from the Mariinsky beautiful Palazzo Vecchio, in Flo- and find a natural, unforced sound. ible respect for the voice for you to Young Singers’ Academy – petite rence. Meeta Raval will never forget ‘In the first days they were singing go on stage in best form.’ This tran- blonde mezzo-soprano Ekaterina that night. ‘Everything came togeth- very stiff, the teeth closed. I say, it’s sition between college and first and her dashing baritone husband er. After 17 days working on these impossible to sing this way – the professional roles is one of the Vladimir. In spite of Larissa arias, my Italian was 100 per cent voice doesn’t come out.’ When I hardest times in a singer’s career. Gergieva’s fearsome reputation for improved, the drama in the voice observe that all the singers on the Papp says this course is not only turning out drilled singers at the had increased, and, most important course have big voices, she looks about education, it’s also about Mariinsky, their posture and voice of all, I had a feel for the bel canto sceptical. ‘They believe sometimes making connections for the stu- production needed a lot of help, style of singing and a deep emotion- if you push, you have a big voice. dents, introducing them to artists according to Pepi Ferrari. al connection to the music.’ But like this, you will destroy your like Te Kanawa and Freni who can On Day 12, the singers give a A ringing endorsement, and one voice. If you sing in the right way, recommend them to other movers recital for invited guests in the luxu- which Candice Wood could use to you save your instrument.’ Though and shakers. Papp is keen to rious Andana Hotel, owned by attract a fairy godfather for the she is tough with the singers, she extend the reach of the course out- celebrity restaurateur Alain Solti Accademia di Bel Canto. has an irrepressible sense of side the Royal Academy, and this Ducasse. They get a rapturous humour and a flirtatious manner – year he has succeeded. There are reception, and the teachers are Auditions for the 2007 course will smiley Mexican tenor Jésus León two alumni of the Royal College of delighted with how much the be on 1 and 2 February 2007. Visit was a bit of a favourite. ‘I do a lot of Music, Simon Wallfisch, already a singers have remembered. They www.accademiasolti.org

Royal Northern College of Music course. The element of dramatic training has ensured that the RNCM’s Vocal and Opera course has an outstanding interna- he School of Vocal and Opera Studies is one tional reputation as exemplified by the College’s opera T of six schools of study at the Royal Northern Col- productions produced in the professionally-staffed lege of Music, a leading European conservatoire. Opera Theatre, Concert Hall and Studio Theatre. The aim of the School is the development of the Postgraduate students may benefit from a second- Young artists: Solti Accademia di Bel Canto Young singing voice and the associated professional perfor- ment to Opera North as part of the new Young Artist mance skills to their maximum potential. To this Scheme developed collaboratively by the RNCM and end, the course structure and content provide the Opera North. singer with every opportunity to acquire the musi- The School’s success in training singers can be cianship, versatility and breadth of skills demanded measured by the international careers of its alumni. by the profession today. The emphasis throughout is These include Bruno Caproni, John Daszak, Jane on communication, as vital on the concert and ora- Eaglen, Sara Fulgoni, Simon Keenlyside, Mary Plazas, torio platform as on the operatic stage. Brecht/Weill’s Threepenny Amanda Roocroft and John Tomlinson. Opera at the RNCM Professionalism and the development of a sound vocal and stage technique are an intrinsic part of the www.rncm.ac.uk

University of Cincinnati College- sional. Opera at CCM integrates the highest standards Conservatory of Music in voice training and musical coaching with thorough and challenging dramatic preparation, and students he University of Cincinnati College-Conservatory work with experienced faculty members as well as T of Music (CCM) offers the benefit of a profession- some of the most renowned guest teachers and al training conservatory specialising in the performing artists active in opera today. CCM’s performance sea- and media arts within the setting of a comprehensive son features six fully staged opera productions annual- public university. CCM’s educational roots date back ly and an array of additional performance A scene from CCM’s Don Giovanni to 1867, and it is now the largest single source of opportunities. performing arts presentations in the state of Ohio, featuring nearly 1,000 events annually. More than 150 faculty members work with a stu- Other highlights of Opera at CCM: dent population of approximately 1,500, and CCM’s state-of-the-art G 31-time winner of the award for ‘Best College Production in the US’ facilities include seven performance venues, sun-filled rehearsal rooms, from the National Opera Association Production Competition scene and costume shops, wig, make-up and prosthetics studios, dance G Named third top programme in the country for pursuing a graduate studios, and television, recording and multimedia studios. degree in voice (in the most recent rankings available by US News and Opera at CCM features one of the most complete training programmes World Report) for opera singers, coaches and directors of any school in the United G Over $35,000 in student scholarships available through CCM’s annual States. The curriculum is designed to help artists develop the skills neces- Opera Scholarship Competition sary to transition with confidence onto the professional stage, with a full understanding of the demands of the career and craft of the opera profes- www.ccm.uc.edu/opera or www.ccm.uc.edu/directing

32 Opera Now NOVEMBER/DECEMBER 2006