2008 SUMMER INTENSIVE PROGRAMS at California State University, Northridge click here for details
3.95
"I would recommend the OperaWorks experience to any singer at any level of development who wants to become more grounded, to bring greater integrity and humanity to their characters, and to experience music and singing in a new and much more vital way." Erika Person (2006) - Opera Delaware, Lake George Opera, Indianapolis Opera
YEAR-ROUND CLASSES IN LOS ANGELES AND NEW YORK
4.05
National Workshops - Custom Workshops
workshops listed below
What an artist does with his/her voice and dramatic instincts makes an individualized statement about who they are. This class will help you recognize your strengths as a performer and how you can highlight those in an audition or performance situation.
Some of the more common issues singers face are (1) what to do with their arms in performance, (2) how to be spontaneous on stage, and (3) how to eliminate "negative self-talk" while singing. In this interactive workshop, you will learn specific skills to focus the mind and body, how to "center" your energy on and off stage, and how to enjoy singing again. Ms. Baltz will also address any physical, musical and mental 'blocks' that may stand in the way of giving committed, impassioned and courageous performances.
[See Ann Baltz's article "Using the Whole Body to Sing" in Classical SInger Magazine, January 2007]
4.10
ADVANCED PERFORMANCE TECHNIQUES
Vocal technique and acting skills do not, in and of themselves, define an artist. What an artist does with their voice and instincts uniquely defines them. The Advanced Performance Techniques Workshop focuses on each individual's specific needs and goals, addressing the physical, musical and mental aspects toward committed, courageous performances. (Please note: for OperaWorks summer alumni, Performance Techniques graduates, or by permission)
4.25
CAREER PLANNING
Every successful business person knows that having a business plan is crucial to success. Singers are no different. In 60-90 minute sessions, Ann Baltz works one-on-one to define goals and then create a multi-year plan to accomplish those goals. Experience has shown that, once a singer has defined their goals and is armed with a plan of action, they achieve their goals and, in many cases, even exceed their goals in a short time!
[See Ann Baltz's article "From Student to Pro: A Three-Year Plan" in Opera America's 2001 publication, Making Choices: From Classrooms to Contracts, and "The Singer's Team," her article on networking in their 1999 publication, Business Advice for Singers.]
4.50
COACHINGS
Every singer should emerge from a coaching with several things: (1) a clear understanding of what they did well, (2) knowledge of specifically what and how to improve their performance, and (3) confidence that their coach has the singer's best interests at heart. Whether focusing on musical or dramatic perspectives, diction, physical presentation, or repertoire questions, these fast-paced coachings are tailored to each singer's needs and agenda. Conducted in a positive environment, singers are challenged to release vocal and/or physical fears and habits that prevent them from consistently performing at their optimal level.
4.75
5.00
OPERATIC IMPROVISATION WORKSHOP
Classical musical improvisation teaches absolutely essential skills that today's performers must master. Participants learn and have fun while exploring the process of creating spontaneously. This workshop is conducted without any printed music in the room. Everything is created on the spot. Exercises include acappella improvisations, arias with improvised accompaniment, duets, trios, and the workshop typically ends with improvised scenes. By accessing their Right Brain, singers tap into their innate and intuitive musicality and creativity. It is a very powerful workshop because the boundaries of the printed page and the inherent "Right/Wrong" are taken away, leaving the singer to create their own music.
ALEXANDER TECHNIQUE
The Alexander Technique classes offer a method for lifelong learning. Singing uses the whole person; mind and body. In this class singers discover that what they think influences the way they hold their bodies and vice versa. This use of themselves can either interfere with or make better their vocal performance. Reducing tension produces more resonance. Taught by Pamela Blanc, the Alexander Technique is introduced in a group setting with attention to addressing individual work. Self-awareness, poise, self-reliance, and a keener ability to make artistic choices are achieved
7.00
7.00
ROLE PREPARATION
Singers need roles on their resumes. Many also need to learn how to learn a role, and they need to experience singing through their role with other singers. Singing it through with only a coach (or not at all) before the first professional musical read-through can make that first rehearsal highly stressful. This course is designed assist singers learn a role in a standard opera in a supportive and creative environment. Each singer will receive private coachings with artistic director Ann Baltz,
rehearsals, plus public performances. Singers will be featured on OperaWorks' website and in all publicity.
Auditions can tell a lot about a singer -- vocally, musically, personally, professionally -- and yet most singers rarely practice auditioning beyond singing through their arias. This innovative workshop simulates a real audition for a panel of adjudicators. After they audition, singers will be given specific and constructive feedback, and then immediately audition again to incorporate the changes. Feedback is personalized to each singers; topics may include performance, presentation, personal communication, marketing materials, and repertoire.
MOCK AUDITIONS - LOS ANGELES & NEW YORK
2008 Fall Dates TBA
8.00
AUDITION WORKSHOP
This workshop goes beyond the stand and sing type of audition. It addresses much of the "non-singing" aspects that are rarely addressed in traditional education. The Audition Workshop trains singers how to prepare, mentally and physically, before they even enter an audition room. Options are presented regarding how singers can center their bodies, what to do with their energy, how to enter an audition room, as well as other subjects including professional materials, repertoire, and dress. While there is no definitive way to audition, this workshop presents many options to show the singer at their best from the first moment.
8.20
CHORAL WORKSHOP
A chorus is truly larger than the sum of its parts. Members of a chorus must work together to fully express the repertoire while conveying the appropriate energy, sentiment and context for every piece. This workshop incorporates performance techniques skills plus centering the body to allow for inner movement while in a stationary position. Participants will also learn how to integrate their facial and vocal expression into a winning performance technique. Choirs sing their own repertoire in order to better facilitate the new techniques.
MASTER CLASS
Our Master Class introduces the foundation of OperaWorks' training: focusing on the use of one's face, body and voice in healthy, coordinated ways, and incorporating the mind-body connection so crucial to the singer's craft. The Master Class begins with interactive exercises for the face and body, as well as the powerful centering skills. By experiencing these new skills in a non-threatening environment, auditors can grasp the concepts in a clearer, more immediate way than if they had merely observed from their seats. Following the exercises, Ann Baltz works with individual singers using these newly-experienced techniques. The Master Class typically ends with the popular introduction to improvisation. This is a fast paced evening packed with a lot of information and handouts, and with techniques that can be used immediately.
8.80
MARKETING FOR PERFORMING ARTISTS
In this increasingly competitive singers world, the professional look of your materials can be the deciding factor before you even audition. Give yourself the edge with distinctive printed materials that tell companies you are serious about your career.
A visual image is not enough, though. And your PR packets sitting on your desk waiting to be mailed will not get you any auditions. Sending the packets, making the follow-up calls, and selling your product (you) -- marketing yourself is a specific skill that can be learned and used to your advantage.
9.00
FINANCES FOR PERFORMING ARTISTS
With so many tasks facing performing artists today, it is easy to put off building sound fiscal habits and structures that will support professional success. Creating a working budget, understanding the need to operate as a small business, learning about tax laws, mastering the art of negotiation, working with funding sources - and managing it all - are critical to your endurance in this demanding profession!
Simply stated: If your financial life is out of order, so is your career! Finances for Performing Artists is a framework that singer/actors need to manage their resources and function in an organized and effective manner. This seminar is designed to give you the vocabulary to take charge of your finances.
9.99
CUSTOM RESIDENCIES Two-hour to multi-day
Sometimes, needs and desires for training are very specific. OperaWorks can design a custom program for your school or organization that will meet your needs. Mix and match workshops from the list above, or present other requests. Custom workshops can be tailored to any venue and are offered nationally. Let OperaWorks build a custom curriculum just for you!
