Pillar 1
Interpretation and Technique

AIMS

• Skills and musicality: transfer what’s in the score (in all its details) to the audience; a good and stable control of the voice; knowledge of an extensive repertoire in different styles and what is good to sing at the moment (Fach); a good knowledge of how to audition and with which pieces;
• Languages: a good knowledge of the pronunciation and understanding of English, German, French, Italian and to a certain degree Russian;
• Professional attitude: a daily use of healthy habits towards the profession;
• Progress: prioritise reaching goals step by step.

PREVIOUS KNOWLEDGE
Thorough knowledge of how to read a musical score and possess a secure technique. Knowledge of the required languages. Extra lessons (also outside the IOA) could be advised if some of these skills are not sufficient.

FORMAT
Practice study – collective & individual; Rehearsal; Performance

CONTENT
Coaching sessions is foster and explore imagination, interpretation and communication. The repertoire is analysed in detail, through in-depth study of both text and music, and the relationship between these. Translation, pronunciation, meaning, dynamics, expression marks, phrasing, intonation, vibrato, rhythm and many other components are discussed and brought together to arrive at interesting interpretations. In addition, the differences of styles are studied. The focus is always on how to communicate all of this and the meaning of the text well to an audience.
Lessons can be linked to an IOA production, or the repertoire can be entirely free of choice. Repertoire can encompass opera, song, oratorio, operetta and musical theatre styles from early baroque to contemporary music. Some of the sessions will focus on ensemble singing and others on performing. (“Performance platforms”)
Students are given guidance for their preparation: in general, but also specifically for concerts, masterclasses or productions.
The character’s development in a song, aria or role is studied and kept as close to reality as possible. Often, reference will be made to movement and/or acting classes. We address balance problems that may occur: how will a singer make him/herself heard above an orchestra in a larger hall? Students receive help with choice of repertoire and Fach. They also receive guidance for their preparation: in general, but also specifically for concerts, masterclasses or productions.

COURSE MATERIAL
Selection of the most important scores: Italian – Ricordi; French – Durant/Jobert; German -Baerenreiter/Peters; online IMSLP; IOA library; recordings Youtube – Spotify

EVALUATION
Continuous assessment/Permanent evaluation

AIMS
The overall aim is that during the first year of the Laureate Programme, each student acquires the tools to be able to pronounce, enunciate and express a vocal text in English. Successful communication of a text will be at the heart of each session.
Having mastered the technical foundations of the language, the focus of the second year will be on encouraging physical freedom in the student to enable students to fully communicate a text and inhabit a role in English.

PREVIOUS KNOWLEDGE
For the second year of the Laureate programme: a good level of conversational English

FORMAT
Practice study – individual

CONTENT
English coaching classes will explore the nature of the English language in relation to the singing voice, focusing on vocal music from the opera, operetta, oratorio and song repertoire. English is the common language spoken between international students at the IOA and therefore it is all the more important that attention is given to ensure English is learnt and applied accurately when singing.
The technical elements of each session will focus on all aspects of diction, with the first year of the Laureate Programme concentrating on the correct pronunciation of vowels, diphthongs and consonants in sung English. The pace at which the sessions progress will depend on the ability and mother tongue of the individual student. The pronunciation of and differences between British Received Pronunciation and American Standard will also be addressed.
Ideally, by the end of the first year, the student should be able to apply their technical knowledge of the English language independently. Having mastered the technical foundations of the language, the focus will be on encouraging physical freedom in the student to enable them to fully communicate a text and inhabit a role in English.
English coaching classes in the second year of the Laureate Programme will focus on vocal music from the opera, operetta, oratorio and song repertoire in English. The technical elements of each session will continue to focus on all aspects of diction, concentrating on the correct pronunciation of vowels, diphthongs and consonants in sung English. In addition to these technical abilities, in the second year, students should have the knowledge and confidence to be fully able to express a vocal text in English. Successful communication of a text will be at the heart of each session. The pronunciation of and differences between British Received Pronunciation and American Standard will also be addressed depending on the repertoire.

COURSE MATERIAL
Variety of scores and other literature either available in the library or from the teacher.

EVALUATION
Continuous assessment/Permanent evaluation

AIMS
At the end of this course, the student should be able to sing French with clarity of sound, proper phrasing, knowledge of style and more intimacy with the language.

FORMAT
Practice study – individual

CONTENT
A young singer’s primary concern is his/her vocal development. Yet it is very important for a young singer to focus also on musical and acting skills and on use of languages, as well as on growing as a human being and as an artist.
During French Language Coaching, teacher and student consider the language in relationship to the voice, the music and the meaning of the text. Classes are individual and based on each student’s growth and needs.
During the first year, special attention is paid to the way a singer produces a sound when singing a text. The student develops an understanding of how to sing and interpret the text with respect to his/her voice and body. During the second year, extra attention will be given to the preparation of the French roles that the singers will sing in the opera productions organized by the IOA, as well as audition arias or roles in French.

COURSE MATERIAL
Scores and online material

EVALUATION
Continuous assessment/Permanent evaluation

AIMS
By the end of the course, the student will have:

• flawless pronunciation and articulation;
• the ability to use the German language as an expressive means in both singing and speaking (on stage);
• a thorough understanding of the relevant German repertoire.

FORMAT
Practice study

CONTENT
During the German coaching sessions, we dive deep into the wonderfully complex relationships between language, text, music, voice, body and imagination. When working on a piece, we explore the meaning of the text in its literary, cultural, and musical contexts; its sounds; its timing and rhythm; its articulation and dynamics, as well as its natural melody; aiming to achieve a deep understanding of the poetry that served as the point of departure for the composition.
The classes provide students with the following skills:

• flawless pronunciation and articulation,
• the ability to use the German language as an expressive means in both singing and speaking (on stage),
• a thorough understanding of the relevant German repertoire.

The course is thus closely linked to repertoire coaching, vocal coaching, and rehearsals with German
repertoire.
Structure of the course:

• Typically, students have individual coaching appointments, working on their repertoire for IOA productions, concerts, and future auditions. Students are required to bring any German language repertoire they are working on (opera, operetta, oratorio, or Lied) to the lessons, preferably before
  the onset of rehearsals. The teacher might also suggest repertoire, often encouraging the students to explore new horizons.
• In the first year, we focus on phonetics and pronunciation, although each individual student’s needs and previous knowledge guide how we spend our time. If several students could benefit from theory sessions, group sessions are provided on German phonetics, pronunciation rules, and/or grammar.
• In the second year, we focus on the study of operatic roles as well as spoken parts. The study of a German language monologue is encouraged, as it is often required in auditions.

COURSE MATERIAL
Scores and texts
Handouts made available through the student platform
Cross & Lanzrein: The Singer’s Guide to German diction (available in the IOA library)
Duden: Aussprachewörterbuch (available in the IOA library)

EVALUATION
Continuous assessment/Permanent evaluation

AIMS
Singers are expected to learn/improve Italian pronunciation, understanding and prosody; to deepen their musical and expressive approach through the lenseof language; and to improve their professional attitude by understanding the importance of textual awareness. Students are expected to be committed, curious and proactive.

PREVIOUS KNOWLEDGE
For the first year of the Laureate Programme: not necessary but advisable. If there’s no knowledge of the language the student will get extra tasks during the year.

FORMAT
Practice study – collective & individual; Lecture

CONTENT
During the first year, the course will focus at first on IPA transcription and correct reading of the language.

Every individual student will bring to class his/her repertoire to sing. Any individual issues will be addressed in a holistic fashion, i.e. style-technical related issues might be addressed at the same time, in order to achieve the most complete result possible. During the second year focus will shift to recits, handling the theory of Recitativo practice first and then going deep into its performance (especially in small groups).

COURSE MATERIAL
Luciano Canepàri, Dizionario di Pronuncia Italiana
Accademia Italiana Attori, Basic rules
David Adams, A handbook of diction for singers

EVALUATION
Continuous assessment/Permanent evaluation

AIMS
Students should achieve:

• The development of a methodology, the tools and resources to achieve the gradual and continuous development of the capabilities and resources of the instrument itself, in tune with the constant evolution of the vocal apparatus;
• The development of own musical and interpretive criteria based on knowledge of the repertoire, genres and styles, supported by the knowledge of various languages and scenic communication;
• Knowledge of how to study and face the vocal and musical challenges of each score.

FORMAT
Practice study – individual

CONTENT
During the classes, we develop an approach in which singers train for self-learning and autonomy. This implies very conscious work on the part of the student, towards goals of continuous improvement and development as a singer and artist. Therefore, it is very important to give the student tools and resources to know how to face the vocal and musical challenges of each score.
Every student has his/her own strengths and areas for improvement. The teacher must adapt by planning the work in an efficient and motivating way, monitoring the student’s progress and guiding him/her.
We work on awareness and good vocal warm-up, which will condition the emission and musical interpretation.
It is very important that the student records the work sessions with the teacher in order to be able to listen to him/herself later with an external perspective. This helps to acquire autonomy in his work and development.

COURSE MATERIAL
Léopold Simoneau: L´art du bel canto.
Manuel García: tratado completo del arte del canto.
Lilli Lehmann: How to sing
Ricci: Variazioni-cadenze
Liebling: Coloratura cadenzas

EVALUATION
Continuous assessment/Permanent evaluation

AIMS
This course aims to deepen the student’s technical, musical and interpretative skills.

FORMAT
Practice study – individual

CONTENT
In our classes we focus on the student’s individual needs as a singer and performer. We work on a technical, musical, language and interpretative level. The student is free to choose their own repertoire. The teacher is happy to provide support with competition and audition repertoire and the repertoire for upcoming productions. Additional questions regarding the profession are welcome.
Lessons take place in private, with piano accompaniment or as team teaching.

EVALUATION
Continuous assessment/Permanent evaluation