Solti-Peretti Répetitéurs Masterclasses

Project location: ITALY
Project start date: December 2008 - Project end date: This project covers various years
Project number: 2008-27
Beneficiary: Accademia di Bel Canto

[2010-30]

Following the success of last year's Solti Peretti Repetiteurs masterclasses, and the numerous requests that the Accademia has received over the last year for a repetition of the festival, the Accademia Solti Te Kanawa organized a second edition of the Solti Peretti Repetiteurs masterclasses, that took place in Castiglione between the 28th of August and 5th of September 2010.
The 2010 Solti-Peretti Accademia exceeded all the expectations, based on last year's success. The talented participants came from Spain, Korea and the U.K., and from the Royal Academy of Music, the Guildhall School of Music, the Britten Pears School for Advanced Musical Studies, and the Royal Scottish Academy of Music and Drama. There was an age range of 17- 25.

Unlike the previous year, there was a more mixed set of ambitions from the participants as to what they wishes to achieve during this course: they all wishes to increase their coaching skills; improve their conducting, without all of them wishing to become conductors, and they were all at a much more advanced level with their basic Italian and language comprehension than the previous year's repetiteurs.
The established working pattern of Masterclass, with all the faculty present, and floating teachers for private work, plus Italian language sessions, was very successful, again.
Towards the end of the week, due to their heavy workload and their greater understanding of Italian than in the previous year, the participants wanted more practice and preparation time. This was achieved by reducing the Italian language commitment during the final two days.

The singers were of an even higher standard than the previous year, and they were particularly helpful in the advice, support and feedback that they were able to give, as they worked with the pianists.
It was fascinating to watch the various strengths of each participant surface throughout the course. These ranged from highly communicative conducting skills to a real passion for Wagner, revealing a very different and passionate musician than that seen in the other work by the same person.
Throughout the course, the feedback sessions for the singers about the repetiteurs and vice versa proved invaluable in monitoring and steering the progress of each repetiteur.

The skills that were covered included secco recitativo, conducting, style, playing a vocal score, addition/subtraction of orchestral parts within a vocal score according to a full score, arrangements from a full score (i.e. a Wagner Overture for five pianos) coaching, and talking to singers as a coach or conductor. All but one of the students chose to conduct in the final concert.
The teachers were excellent in their unstinting help and advice for each participant. The only thing that might be changed is to allow an extra day to give either time off, or else practice time.


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