24th November 2012 9:00
By David Pope
Peru has very few countertenors. Nor did I find any bears called Paddington during a month’s stay there. There was an enticingly active singing scene and some very high quality musical talent in the universities and conservatories, even in the more provincial towns. There was also the promise of heaps of post-colonial baroque choral music gathering dust in various archives, waiting to be “discovered”. But how could I gain access to the professional singing world and those archives? I needed one of Paddington’s ever-present marmalade sandwiches, both to start my adventures and to enjoy their fruits at the end. I think I found the equivalent. The way in through the firmly closed doors was to give a couple of recitals and agree to deliver that essential element of a performer’s art: the singing masterclass. A masterclass? Me? This was an interesting new challenge. I had previously only attended such things when they were given by singers who were already famous and established. And yes, I had gleaned some elements of my singing technique from them. As a singing student though, I had never found them very helpful. But now, from the other side of the desk, I began to see how effectively they can promote the name of the teacher, as well as meet the perceived needs of the students. Amongst all the music students and singers in the audience there was the occasional talent scout, recording engineer, musical director. Some of them were on the ’phone to me the following day! Giving a masterclass, like all teaching, allows you to prove that you know your subject, as well as to ascertain where the boundaries of your knowledge do actually lie. I think I taught myself some new techniques, by explaining them to others and by reflecting on how better to teach and demonstrate them after the first class. Then they asked me back to give a second one! Overall my two “clases del maestro” were almost as frightening and “high profile” as our last school inspection week, but a lot more fun! They also offered an excellent marketing opportunity to the conservatory or university department hosting them. As if in grateful response, those doors to the archives at last began to creak open.
The craft of the classroom You must begin and end your masterclass by performing. A travelling singer should always pack scores of his favourite three recital pieces. Now is your chance to use them: one at the start, one at the end and perhaps one for an encore! Try to find pieces which demonstrate distinctive elements of good singing technique: breath control in one, effective resonance in another, stage presence in the encore? When listening to the students selected to come up to the stage and perform their pieces, try to focus on one of these technical details per student. Explain the “approved” technique, demonstrate it, provide an exercise for the student to try, in full view of the audience, and soak up the applause if and when he or she effects a radical change in interpreting that note, lasting that phrase, evoking that emotion in the audience. Don’t forget to use the whiteboard. A good lesson always has a visual stimulus to focus the students’ attention. Explain the theories by drawing diagrams of the vocal tract or the resonance chambers in the head. If possible, use different coloured pens for the direction of breath, sound waves, and so on. When you detect the audience losing interest or letting their attention drift, try a whole-group exercise. Whichever exercise you offer, the class should practise it standing up. Just as physical commitment is such a pleasurable part of singing, so it proves that the students are learning effectively. People remember physical sensations much more easily than intellectualised facts. And so your masterclass draws to an end. Two or three hours have just gone by, and what have you achieved? Listen to the applause of your students, look at their smiling faces, and you will realise that in fact you have given something back to the profession, as well as ensuring that they will not forget your name.
**Are you a selfish or selfless singer?** Why do we sing? To tell the truth, it is a very selfish activity. When your body rings with beautifully resonant, joyful sound vibrations, the pleasure is intense. You are expressing yourself to the fullest degree. To teach or share this with others, evoking and demonstrating the same feelings in your pupils is, in contrast, very altruistic – a way to express your selflessness, perhaps? Rather like Paddington’s long-awaited marmalade sandwich, which always seems to reward and bring an effective resolution to his adventures, a singing masterclass of this sort, enclosing fruitful and worthwhile teaching between layers of your best performances at the beginning and the end, is a highly satisfying way to marry the selfish and selfless aspects of your performing personality. It leaves a very pleasant taste in the mouth! So what can you bring out of your hat? Do you have your marmalade sandwich with you? Do not neglect the masterclass. Every aspiring professional singer gives concerts and recitals. Too many famous singers are revered only for their technical skills, for their singing. How many are remembered for what they gave to others, for their teaching? Master your singing technique certainly, but have you tried mastering the class? It is in fact easier than you might think. So, maestro or maestra, why will we remember your name? When are you giving your next masterclass?