SCUOLA dell OPERA ITALIANA

Index

page Introduction 1. 2. 3. Why a Scuola dellOpera Italiana? New studies Theory, practical, and work experience 3.1 Theory and practical 3.2 Work experience Departments 4.1 Opera singers 4.2 Rptiteurs 4.3 Conductors 4.4 Directors Intensive courses, master classes, summer schools Teaching staff Italian and international cooperation Recordings 2 3 4 5 5 5 6 6 10 13 16 19 20 21 23

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5. 6. 7. 8.

Attachments I. II. Teaching staff Staff 25 28

Introduction

The Scuola dellOpera Italiana was founded in 2008 under the aegis of the Teatro Comunale in Bologna, and in its first three years it has trained more than fifty young artists. These include opera singers, conductors, rptiteurs, directors, and set and costume designers, and many of them have begun work even before completing their courses. Conceived as a top professional training school for opera, the Scuola has developed a dense network of cooperation with theatres and this has brought it great credit with reputed opera houses in Italy and throughout the world. Young artists from a total of 48 different countries have attended the Scuola with a view to picking up knowledge and skills about something specifically Italian: Italian opera

1. WHY A SCUOLA DELLOPERA ITALIANA? The Associazione Opera Italiana, a professional training body accredited by the Regione Emilia Romagna in 2010, is a non profitmaking institution which pursues exclusively cultural, social, and training objectives. The main purpose of the Associazione is to safeguard, promote, exploit, and transmit the philosophy and tradition of the aesthetic and technique of this Italian style in the interpretation and performance of opera, and this style is an absolute cultural value. The Associazione promotes, organises, and manages the Scuola dellOpera Italiana, conceived and launched under the aegis of the Teatro Comunale in Bologna. The purpose of the Scuola dellOpera Italiana is to guarantee good, dynamic, concentrated general and specific training for young talents seeking to dedicate themselves to the various professions to be found in the modern opera world. The Scuola is for young singers, conductors, rptiteurs, directors, set designers, costume designers, and lighting designers, with a view to guaranteeing complete and coordinated training as well as bringing together the various artists working in opera. Studies stand out due to their depth and variety, and are absolutely unique. The course also provides many master classes given by well-known professionals and famous artists. The distinguishing thing about the Scuola, though, is the chance it gives people to get into the opera profession by supplying new talent for the demand in the opera field. The Scuola guarantees a select number of students the chance to take part in actual operas produced by opera houses and other theatres. Examples can be seen with the Teatro Comunale in Bologna, Semperoper in Dresden, the Maggio Musicale in Florence, the Teatro Lirico in Cagliari, and the Festival della Valle dItria in Martina Franca. Opportunities for showing off ones talent on famous stages and meeting the topmost figures from the international professional and artistic scene is an experience every student should take advantage G. Puccini, La rondine, Teatro Comunale di Bologna of when starting out on a career in opera. Exhibition on stage M Jos Cura - February 2009

2. NEW STUDIES The programme envisages a series of compulsory, basic courses for all sections and some specific, optional subsidiaries to allow individual students to customise their training according to their own, personal inclinations. The Scuola is proud to be able to provide the necessary work experience required by the curriculum. Upcoming artists need opportunities to experience life on the stage directly. Considering the level of skill and preparation of the students, the Scuola offers opportunities to take part in actual opera productions with partner opera companies, especially the Teatro Comunale in Bologna. The work experience required by the Scuola curriculum accounts for approximately 40% of all courses. Another distinguishing characteristic of the Scuola dellOpera Italiana L. van Beethoven, Fidelio Off, Teatro Comunale di Bologna February/April 2009 is the amount of time given over to training young opera singers as actors. To develop acting skills and to understand what it means to stand in front of an audience, acting lessons include the following: psychological and physical training, acting technique, acting, stylised dancing, and the use of period weapons. The level is very high, and is guaranteed by the fact that the Scuola has signed an agreement with the Scuola di Teatro di Bologna Alessandra Galante Garrone. Everyone understands that singers must be able to act for them to have stage presence and to help them enter into their role properly. Modern opera performances absolutely need mature, in-depth, conscious, and irreproachable acting skills. One further benefit offered by the Scuola is its international nature. In addition to accepting a full 65% of its students from outside Italy, the Scuola can also count on international artists to give lessons. With a view to widening its horizons, the Scuola always tries to establish a good working relationship with Italian and international institutions. The fact that it has been so successful in this can be seen in the many projects which have been started and consolidated overseas.

3. THEORY, PRACTICAL, AND WORK EXPERIENCE The training programme involves classes for the theoretical side (in groups, sub-groups, or given individually). Practical lessons are also given to provide experience of performing on stage. These practical classes are the strong point of the course, and are the best way of applying the theory learnt in the theoretical classes. 3.1 Theory and practical classes involve: - Key disciplines: specific, highly prestigious lessons for each individual department; - Complementary disciplines: additional, optional lessons chosen by the student; - Masterclasses: intensive courses given by famous artists and professionals, to perfect specific techniques in an individual department. 3.2 Work experience involves: - Work experience: taking part in opera and concert performances with partner music institutions. Students may be required, depending upon their skill levels, to perform in operas and concerts in concert halls, which will guarantee the quality and importance of this experience because of the many musicians and other professionals taking part. Practical experience with productions and other performances in theatres and concert halls. - Theatrical and Musical workshops: inter-disciplinary opportunities to stimulate and encourage interaction between the various departments. In particular, these workshops involve music and stage rehearsal under the guidance of well-known artists, and require input from all departments at the Scuola (singers, rptiteurs, conductors, and directors). In this way, a real esprit-de-corps is created among the opera team.

V. Bellini, I Puritani - Teatro Comunale di Bologna - January 2009 Roles and performers of the Scuola: Lord Arturo Talbo, Ivan Magr Elvira, Hale Soner - Sir Giorgio, Alexey Yakimov - Enrichetta di Francia, Giuseppina Bridelli

4. DEPARTMENTS The main departments at the Scuola dellOpera Italiana are: singers, rptiteur, conductors, and directors. Each department hold its own courses, as detailed below. 4.1 Opera singers Characteristics and aims This course examines certain aspects of singing technique and acting, as applicable to many different styles, in the main languages of the Western operatic tradition. Each student: - is accompanied and guided until he is fully aware of his vocal skills and repertoire; - is called upon to improve his acting skills by understanding properly the physical, mental, and emotional mechanisms which often condition him; - will be able to come into direct contact with the professional world he wants to work in, especially the layout and functions of a modern opera house; - will be provided with help in those areas which is often neglected - but which are nonetheless very important - such as dealing with stress and other negative emotions, and other medical problems often caused by living and working as an opera singer; - will be provided with all the artistic and technical instruments necessary to understand his role properly, including seeing what life on the stage is like and understanding what performing in front of the public really means. Number of students admitted: 20. Duration of course: two years, or three if required. Terms: from November until the following October. Theoretical courses and practical courses are mostly held between November and June. Total hours: roughly 600 per year, 40% of which is work experience.

Curriculum:
TECHNICAL-VOCAL AREA Subjects Respiratory biomechanics and postural rehabilitation The breathing of the opera singer Vocal technique: awareness of the issue Total Lesson C-I C I/S Year 1 hrs 3 1 46 50 Year 1 Lesson I/S I/S hrs 44 44 Year 1 Lesson S/C S/C C C/S/I C/S/I C C C hrs 12 8 18 12 40 34 124 2 hrs 12 12 28 30 30 112 56 2 hrs 56 2 hrs 46 46

MUSICAL AREA Subjects Score study and repertoire Score study and performance practice Total

PHYSICAL-TECHNIQUE AREA (in collaboration with the Scuola di Teatro di Bologna "Alessandra Galante Garrone") Subjects Character dance Elements of sword-fighting Phonetics and diction of the Italian language Acting Acting of the opera libretto Style and movement Acting technique Psychophysical training: emotional awareness - body Total

CULTURAL AREA Subjects Accident-prevention measures Information, communication, promotion How to fill your curriculum vitae Elements of employment law, administration and tax legislation Elements of physiology and hygiene of the phonatory apparatus Elements of emotional psychology Nutrition, food hygiene and performance The musical press The opera agent Organization and profession of the lyric theatre Makeup and wigs Total Lesson C C C C C C C C C C C

Year 1 hrs 2 2 4 3 4 6 4 2 2 3 6 38 2 hrs -

MASTERCLASS Topics Recitative art and technique I: practices and achievement in the repertoire of the eighteenth century Recitative art and technique II: practices and achievement in the repertoire of the nineteenth and twentieth century The art of coloratura The Baroque style I: the ornamentation in the 600 The Baroque style II: the '700 and the authentic variazione Technique, interpretation and repertoire Total Lesson S/C S/C S/C S/C S/C S/C

Year 1 hrs 15 15 20 15 15 60 140 2 hrs 15 15 20 15 15 60 140

WORK EXPERIENCE Activities Theatrical and musical workshops (musical rehearsal, stage rehearsal, antepiano) Stage Total Lesson. S I

Year 1 hrs 80 140 220 2 hrs 40 180 220

Total

616

574

ACTIVITIES TO COMPLEMENT Subjects Phonetics and diction of foreign languages (French, English, German) Italian for foreigners: 1 level Italian for foreigners: 2 level Lesson S/I S S

Year 1 hrs 40 116 116 2 hrs 40 116 116

4.2 Rptiteurs Characteristics and aims The reptitur is a key figure in an opera house, especially where Italian opera is performed. The aim of this course is training rptiteur in their various roles, such as front-of-house manager, prompter, stage manager, and lighting manager. Each student will be helped in the following: - finding orchestra-type piano music; - understanding techniques and codes in opera scores; - basic directing techniques; - a full and proper understanding of voice potential; - a critical awareness of the Italian "style." The last thing a reptitur will learn is how to prepare a score so that the singers can understand its technique, voice, music, and dramaturgy. Number of students admitted: 6. Duration of course: two years. Terms: from November until the following October. Theoretical courses and practical courses are mostly held between November and June. Total hours: roughly 650 per year, 40% of which is work experience.

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Curriculum:
TECHNICAL-MUSICAL AREA Subjects Practices of harmony at the piano and introductory improvisation Rptiteur tecniques I: musical rehearsal Rptiteur tecniques II: the line of singing Rptiteur tecniques III: the score of the stage and lights Rptiteur tecniques IV: elements of conducting technique Rptiteur tecniques V: the relationship with the conductor Total Lesson C I I C C C Year 1 hrs 30 56 28 16 42 30 202 2 hrs 30 56 28 16 42 30 202

CULTURAL AREA Subjects Accident-prevention measures Information, communication, promotion How to fill your curriculum vitae Elements of employment law, administration and tax legislation Elements of physiology and hygiene of the phonatory apparatus Elements of emotional psychology Nutrition, food hygiene and performance The musical press The opera agent Organization and profession of the lyric theatre Total Lesson C C C C C C C C C C

Year 1 hrs 2 2 4 3 4 6 4 2 2 4 33 2 hrs -

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MASTERCLASS Topics Recitative art and technique I: practices and achievement in the repertoire of the eighteenth century Recitative art and technique II: practices and achievement in the repertoire of the nineteenth and twentieth century The art of variazione The Baroque style I: the ornamentation in the '600 The Baroque style II: the 700 and the authentic variazione The reptitur Total Lesson C C C C C S/C

Year 1 hrs 15 15 15 15 30 60 105 2 hrs 15 15 15 15 30 60 105

WORK EXPERIENCE Activities Working experience of rptiteur Theatrical and musical workshops (musical rehearsal, stage rehearsal, antepiano) Accompaniment for vocal lessons and masterclass for Singers and Conductors Total Lesson I S I

Year 1 hrs 50 100 200 350 2 hrs 50 100 200 350

ADDITIONAL ACTIVITIES Subjects Phonetics and diction foreign languages (French, English, German) Italian for foreigners: 1 level Italian for foreigners: 2 level Lesson S/I S S

Year 1 hrs 40 116 116 2 hrs 40 116 116

Total

690

657

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4.3 Conductors Characteristics and aims Courses for conductors to be held by Maestro Antonello Allemandi will be the first ever given in Italy at an opera school, and will follow the usual method for Italian conductors. Courses will be given by some of the most famous and reliable representatives of international opera scene, starting with Bruno Bartoletti. The aim of this course is to train conductors for opera. Each student: will examine the mechanisms currently in force in opera houses; will develop the main characteristics required in a conductor; will perfect his conducting skills; will examine the style and interpretation required for each individual repertoire; will develop the skills required so that the music rather than a singer becomes the central point of an opera; will understand the distinctive features of opera music, and learn how to teach these to others; will acquire the necessary skills to bring out the most expressive sound and phrasing; will understand and share the special needs of an opera house and of opera performances;

Number of students admitted: 5. Duration of course: six months, intensive. Lessons will be held every week or every month at a time to be arranged. Terms: from January to June. Total hours: 527.

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Curriculum:
TECHNICAL-MUSICAL AREA Subjects Elements of vocal tecnique Preparing the choir Conducting technique I Conducting technique II Total Lesson C C C C One year hrs 30 12 25 50 117

MASTERCLASS Topics The 900 The belcanto: Donizetti and Bellini Recitative art and technique I: practices and achievement in the repertoire of the eighteenth century Recitative art and technique II: practices and achievement in the repertoire of the nineteenth and twentieth century The Baroque repertoire The Rossini and belcanto repertoire The Puccini repertoire The Verdi repertoire The art of variazione The Baroque style I: the ornamentation in the '600 The Baroque style II: the 700 and the authentic variazione The German opera: Wagner and Strauss Total Lesson C C C C C C C C C C C C

One year hrs 25 25 15 15 20 25 25 25 15 15 15 25 245

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WORK EXPERIENCE Activities Exercises with orchestra Theatrical and musical workshops (musical rehearsal, stage rehearsal, antepiano) Accompanying practice (for graduate students in piano - Optional) Practical experience of the Reptitur Total Lesson I S I S/I

One year hrs 75 60 N.a. 30 165 527

Total

CULTURAL AREA and SUPPLEMENTARY ACTIVITIES (Optional) Subjects Accident-prevention measures How to fill your curriculum vitae Elements of employment law, administration and tax legislation Elements of physiology and hygiene of the phonatory apparatus Elements of emotional psychology Phonetics and diction foreign languages (French, English, German) Stage management and stage direction Information, communication, promotion Nutrition, food hygiene and performance The musical press The opera agent Organization and profession of the lyric theatre Lesson C C C C C S/I C C C C C C

One year hrs 2 4 3 4 6 40 2 2 4 2 2 4

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4.4 Directors Characteristics and aims The course for directors is only open to students who already have an Arts or Music degree from a recognised university or equivalent institution.

Full and proper theoretical and technical training and opportunities for work experience will be given in directing an opera. The course comprises extremely specialised lessons, designed to provide the theory and skills required to carry out this work. Each student: - will learn how to examine the words and music of an opera and analyse the theatrical and musical aspects of a libretto; - will learn methods and techniques for drawing up a director's plan, organising a set, and changing scenery; - will try out the various theories concerning theatre lighting; - will study how to use the latest multi-media technology. During the various workshops and practical lessons, problems arising out of the management of singers and actors will be dealt with. For training purposes particular importance will be given to work experience, and trainee directors will be required to work at the Directors Office at the Teatro Comunale in Bologna or at another theatre. Number of students admitted: 5. Duration of course: six months, intensive. Lessons will be held every week or every month at a time to be arranged. Terms: from January to June. Total hours: 468.

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Curriculum:
CULTURAL AREA OF SECTOR Subjects Cinema and theater From libretto to dramaturgy The stage of the opera house: equipment, technique and design Directing institutions for opera The score of direction The director office and the stage direction History of the opera theatre Theories and techniques of theatrical lighting Total Lesson C C C C C C C C One year hrs 12 12 12 12 4 4 12 12 80

MASTERCLASS and WORKSHOP Topics Masterclass: Style and movement Workshop: n. 3 theater workshops Total Lesson C C

One year hrs 12 36 48

WORK EXPERIENCE Activities Interdisciplinary lyric workshop Stage at Opera theatres Total Lesson S I

One year hrs 100 240 340

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Total

468

DISCLOSURES ACTIVITIES (optionals) Disciplines Accident-prevention measures How to fill your curriculum vitae Elements of employment law, administration and tax legislation Elements of physiology and hygiene of the phonatory apparatus Elements of emotional psychology Phonetics and diction foreign languages (French, English, German) Information, communication, promoting Nutrition, food hygiene and performance The musical press The lyrical agent Italian language: Level 1 Italian language: level 2 Organization and profession of the lyric theatre Lesson C C C C C S/I C C C C S S C

One year hrs 2 4 3 4 6 40 2 4 2 2 116 116 4

Legend: I = Individual lessons S = Subgroup lessons C = Group lessons

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5. Intensive courses, master classes, Summer Schools, and individual training. Alongside any purely academic studies (as explained above at n 4), the Scuola dellOpera Italiana now offers new, short courses for anyone wishing to specialise in a particular area. These courses are held in Bologna and elsewhere, both in Italy and overseas. For opera singers in 2012, the Scuola dellOpera Italiana can offer: - One-week master classes given by international performers of world renown and qualified teachers from the Scuola; - Intensive courses to examine some basic concepts such as singing, sight-reading, acting, and Italian pronunciation, as well as perfecting ones style and performance in the Italian repertoire under the direction of international performers of world renown and qualified teachers from the Scuola. Intensive courses generally last two-four weeks, according to the difficulty of the subject matter being taught. - Summer Schools, planned for the perfection of the style and performance of a particular opera repertoire. These are held by performers of world renown and usually last two weeks. - Individual training for the preparation of roles via customised courses.

All these courses, and all other courses and/or projects for specific productions, may be requested by opera houses or other institutions (Universities, Music Institutions, Opera Studio, etc.) in Italy or overseas. All these training courses and/or projects will be drawn up following strict guidelines to guarantee utter quality, to best meet the needs of any institution requesting them.

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6. TEACHING STAFF

Teachers mostly come from the world of opera, and are experienced professionals and artists of world renown capable of passing on to students their knowledge and experience. For a complete list of all our teachers, please see Attachment I on page 25

Masterclass Fiorenza Cedolins (left side) with the Student Emanuela Giudice

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7. ITALIAN AND INTERNATIONAL COOPERATION In order to provide an outlet for our students and set them on the path to professional opera, the Scuola dellOpera Italiana has signed agreements with many internationally renowned music institutions, including the following: a) opera houses, music institutions, and festivals: the Teatro Comunale di Bologna Teatro del Maggio Musicale Fiorentino, Firenze Semperoper House, Dresden Filharmonia Narodowa, Warsaw Teatro San Carlo, Napoli Orchestra Sinfonica Nazionale della RAI, Torino Teatro Lirico di Cagliari Teatro Pergolesi, Jesi Associazione Lirica e Concertistica Italiana (As. Li. Co.), Milano Teatro Rossini di Lugo, Ravenna Teatro delle Muse, Ancona Theatres in Astana and Almaty, Kazakhstan Musica Insieme, Bologna Pacific Music Festival, Sapporo (Japan) Sferisterio Opera Festival di Macerata Festival Verdi - Fondazione Teatro Regio, Parma Emilia-Romagna Festival Piccolo Festival del Friuli Venezia Giulia, Udine Festival della Valle dItria, Martina Franca (Taranto)

W.A. Mozart, Idomeneo - Teatro Comunale di Bologna February 2010 Roles and singers of the Scuola: Idamante, Giuseppina Bridelli; Elettra, Valentina Corradetti; Arbace, Gabriele Mangione

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b) Academies: Fondazione ATER Formazione, Modena Opificio darte Scenica, Bologna Alessandra Galante Garrone Theatrical Academy, Bologna Istituto Italiano di Cultura, Warsaw Giovan Battista Martini Conservatory, Bologna Girolamo Frescobaldi Conservatory, Ferrara Kunitachi College, Tokyo Music Department, Bologna University IUAV University, Venice Alliance Franaise, Bologna Goethe Institut, Bologna
Semperoper House, Dresden

c) International competitions:

Opera International Competition, Paris Marcello Giordani Competition, Catania and New York I Sing, Beijing Giacomo Puccini International Opera Competition, Lucca Ottavio Ziino International Opera Competition, Rome Ferruccio Tagliavini International Opera Competition, Deutschlandsberg, Graz Citt di Bologna International Opera Competition for young singers, Bologna

The close links we have set up with these institutions mean that we have been able to widen the range of courses available at the Scuola in terms of work experience as required by the syllabus.

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8. RECORDINGS In March 2010, Deutsche Grammophon released a CD of gitane music sung by Elna Garana with the Sinfonica Nazionale della RAI, from Turin. The Scuola dellOpera Italiana contributed to this recording with solos by two former students, mezzo soprano Giuseppina Bridelli and soprano Cristina Antoaneta Pasaroiu.

Elina Garanca - Habanera Coro Filarmonico of the Teatro Regio di Torino, Orchestra Sinfonica Nazionale della Rai Karel Mark Chichon rec. Auditorium RAI Arturo Toscanini, Torino, March 2010

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ATTACHMENTS

Attachment I

TEACHING STAFF, 2008-2011

The following list shows Master classes and Workshops teachers; for an exhaustive list of teachers, visit our website.

Master classes
Alfonso Antoniozzi, singer and director, Masterclass: Art and technique of the recitative I, 2009/2011 Luis Alva, singer, Masterclass: technique and interpretation, 2010 Francisco Araiza, singer, Masterclass: technique and interpretation, 2010 John Axelrod, conductor, Masterclass: orchestra conducting, 2009 Bruno Bartoletti, conductor, Masterclass: Technique and interpretation, 2010/2011 Stefania Bonfadelli, singer, Masterclass: The art of coloratura, 2011 Fiorenza Cedolins, singer, Masterclass: technique and interpretation, 2009 Carlo Colombara, singer, Masterclass: technique and interpretation, 2010 Paolo Coni, singer, Masterclass: vocal technique, 2010 Ileana Cotrubas, singer, Masterclass: technique and interpretation, 2009 Jos Cura, singer, Masterclass: technique and interpretation, 2009 Roberto De Candia, singer, Masterclass: technique and interpretation, 2009 Tiziana Fabbricini, singer, Masterclass: Art and technique of the recitativo II, 2010/2011 Riccardo Frizza, conductor, Masterclass: technique and repertoire, 2010

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Sonia Ganassi, singer, Masterclass: technique and interpretation, 2010 Raul Gimenez, singer, Masterclass: Technique and interpretation, 2011 Antonio Greco, harpsichordist and conductor, Masterclass: Baroque style and the art of ornamentation. 2011 Sherman Lowe, teacher, Masterclass: technique and interpretation, 2009/2010 Luigi Marchione, stage designer, Masterclass: cinematografia and opera lirica, 2009 Riccardo Marsano, teacher in Conservatory N. Paganini in Genova, Masterclass: The reptitur, 2010/2011 William Matteuzzi, singer, Masterclass: technique and interpretation, 2010 Damiano Michieletto, director, Masterclass, 2008 Francesco Meli, singer, Masterclass: technique and interpretation, 2009/2010 Tams Pl, conductor, Masterclass: technique and repertoire, 2010 Renato Palumbo, conductor, Masterclass: technique and repertoire, 2009 Eytan Pessen, pianist and artistic manager of the Semperoper House of Dresden, Masterclass: the reptitur, 2010/2011 Pier Luigi Pizzi, conductor, Masterclass: Don Giovanni, 2009 Sonia Prina, singer, Masterclass: Technique, style and interpretation of the baroque repertoire, 2011 Giuseppe Sabbatini, singer, Masterclass: technique and interpretation, 2009/2010 Darina Takova, singer, Masterclass: technique and interpretation, 2010 Vittorio Terranova, singer, Masterclass: technique and interpretation, 2009/2010 Dunja Vejzovic, singer, Masterclass: technique and interpretation, 2010

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Dolora Zajick, singer, Masterclass: Technique and interpretation, 2009/2011 Wilma Vernocchi, singer and teacher, Masterclass: technique and interpretation, 2009

Theatrical and musical workshops

Marina Bianchi, director, Le nozze di Figaro, Madama Butterfly, 2010/2011 Gabriele Duma, director, Frankenstein, 2010/2011 Ludk Golat, director, Orfeo and Euridice, 2011 Stefania Panighini, director, Dittico Offenbach, 2011 Franco Ripa di Meana, director, Manon Lescaut, Gianni Schicchi, 2011

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Attachment II

STAFF
Fabio Mangolini Chairman Luca Ioseffini Coordinator and Process Manager

Matteo Pais Music coach

Maria Rita Romagnoli Logistics and Production Manager Marta Vecellio Reane Administration and Control Laura Romasco Tutor and Teaching Secretary

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Associazione Opera Italiana Scuola dellOpera Italiana

Via G. Oberdan, 24 - 40126 Bologna Tel. (+39) 051 273 682 - Fax (+39) 051 2911057 info@scuolaoperaitaliana.it - www.scuolaoperaitaliana.it

With contributions from