Dates: 22 June - 1 July 2023
Language: Italian and English
Target group: opera singers
Age: +18 > 40
Participants: up to a maximum of 10
For too long, opera has coincided with the voice: talent and vocal technique are prerequisites, but the singer - let us remember! - is a complete artist, a versatile performer.
Our desire is to give the technical, interpretative and emotional tools to connect the spiritual dimension with the physical one.
We live in crucial times where art has an even more urgent role to play in the salvation of humanity.
We need all artists to unite their voices.
We need singers who are virtuosic and moved, sensitive and aware.
My contribution will be to use movement as a language. To construct workshop labourite's involving
movement and acting. To devise work to help the singer become more freer to contribute to the production process. To help the singer feel much more comfortable with their body... and to facilitate movement and vocal exercise. I intend to do use a lot of theatre and or dance improvisational techniques to help the singers break through into a more dynamic creative process. I will not deal with Arias or Recit.... Not directly. This will be tacked by The Director and or vocal Coach. I will be present and assist them in their work. Just as I would if I were working on an Opera production.
I will use the morning session which will be physical warmups... followed by improvisations. Building scenes, exploring acting techniques, researching character, and playing with different theatrical dynamics.
Work vocally with singers by researching the emotions and characteristics of the characters played using the range of nuances offered by the human voice.
I love opera because it is an enchanted world that makes me know my world better.
It is a dream, yes, but a daydream.
The Kingdom of Oz shows us that there is no universe more vast and surreal than Dorothy's Kansas.
We will therefore try to flesh out your imagination so that it is as spectacular as Melodrama.
To me it means GO.
The colour of my father's eyes when he was young which then turned Blue.
The colour of my eyes when I was young which are now Blue.
The heart Chakra. The balance anchor for all the Chakras. Compassion. Love. Forgiveness.
Green recalls new life, rebirth, renewal. Recreating to pass on an ancient art. Green like the leaf of the
Canary Pine rising from its burnt trunk as the Phoenix rises from its ashes.
Born in 1972 in Bergamo, he graduated in Modern Literature and graduated at the age of 24 from the Civica Scuola d'Arte Drammatica 'Paolo Grassi' in Milan, the city where he made his debut as director and author thanks to his association with the Aslico association and the Orchestra dei Pomeriggi Musicali.
He was Artistic Director of the Macerata Opera Festival and since 2015 of the Festival Donizetti Opera in Bergamo.
He taught Direction at the two-year specialisation course in Scenography at the Brera Academy.
He has staged operas for various opera houses in Italy and abroad, twice winning the Abbiati prize from Italian music critics. His most recent performances were Haendel's Alcina at the Glyndebourne Festival and Ajo nell'imbarazzo for the Bergamo Festival.
Francesco Micheli is also actively involved in the popularisation of classical music on various fronts. On TV, he has collaborated with Sky Classica and Sky Arte, and for several years now has held a column on RAI 1 (for the programme 'Uno mattina in famiglia'); he has written books for Rizzoli ('L'Opera è polvere da sparo' with Elio) and Curci ('Il lago dei cigni'); he has worked for the main Italian music institutions (the Orchestra Filarmonica della Scala, the Orchestra Santa Cecilia in Rome, the Orchestra Sinfonica nazionale della Rai).
With the latter, he was the narrator of Schönberg's A Survivor from Warsaw directed by Fabio Luisi for Remembrance Day 2023, broadcast by Rai 5 and Radio 3.
For Bergamo-Brescia Capital of Italian Culture 2023, he curated the inaugural performance 'I nuovi mille' on Saturday 20 January and received the new commission for a new opera on Raffaella Carrà, 'Raffa in the sky'. It is scheduled to debut in September at the Teatro Donizetti.
British Choreographer Ron Howell studied t the London Contemporary Dance School. He was the founder member of ARC Dance and later founded his own company The Dance Collective. In his extensive work in opera he has choreographed for companies including the Metropolitan Opera (New York); Mariinsky Theatre, Lyric Opera of Chicago, Teatro Real (Madrid); La Scala (Milan); Glyndebourne Festival, The Rossini Opera Festival (Pesaro); Teatro Nacional de São Carlos (Lisbon); The Royal Opera House (Covent Garden, London); and Teatro Massimo (Palermo).
Howell is Associate Director, Movement Director and Choreographer of Birmingham Opera Company.
Opera productions include: The Queen of Spades, Eugen Onegin, Manon Lescaut, The Marriage of Figaro, Così fan tutte, Don Giovanni (Glyndebourne Festival); The Marriage of Figaro (English National Opera); Mitradate, Re di Ponto, Die Meistersinger, Ariadne, Midsummer Marriage, Falstaff, Tamerlano (Royal Opera House); The Ring, Zaide, Les Boréades, Silas Marner, Vixen Sharp Ears (C.B.T.O.); Falstaff (Welsh National Opera); War and Peace (Kirov); The Queen of Spades (Chicago); Macbeth, Eugen Onegin, Luciano Berio's World Premiere Outis, Die Tote Stadt (La Scala); Candide (Batignano); Lady Macbeth of Mtsensk, Moses and Aaron (Metropolitan Opera); King Arthur (Châtelet, Caen, Royal Opera House); Mithridates King of Pontus (Sydney); Parsifal (Opéra National de Paris); Transformations (St.Louis); Moïse et Pharaon, Guillaume Tell (Pesaro); La Traviata (Verona, BOC); Les Troyenst, Idomeneo, Tamerlano, Macbeth (Florence); Woytsek, Mortal Combat, Don Giovanni, Il Ritorno d'Ulisse, Fidelio, Il ballo delle ingrate, Le Sacre du Printemps, Idomeneo, Otello, Mitwoch aus Licht Kovansky Gate, The Ice Break, Dido and Aeneas, Lady Macbeth of Mtsensk (BOC); Manon Lescaut, Lauriane, The Ring Alceste (Lisbon); L'Orfeo (Ravenna); Tannhäuser (Los Angeles/Athens); Sea of Souls (Royal Opera House 2), La Rodine, Manon Lescaut (Venice); Die Gezeichneten, The Ring (Palermo); Idomeneo + Lady Macbeth of Mtsenk (Gottenburg); Death of Venice (Berlin Stats Oper); Stufelio (Parma); Wake a New World Premiere by Italian Composer Giorgio Battistelli (BOC); Magic Flute (Macerata, Italy); Don Giovanni, Zaide (Como); Mahagonny, Figaro, Don Giovanni, Zaide (Rome Opera); Paria (Poznan)
Future works include: Opera Workshops (Biennale College Teatro), Rebecca The Musical (London West End), Queen of Spades (DeutcheOper Berlin).
Born in Las Palmas, Davinia Rodriguez trained under Leopoldo Rojas O' Donell, Teresa Berganza, Martina Arroyo, Raina Kabaivanska and Sylvia Sass.
In a short time she made her debut in roles such as Despina in Così fan tutte, Contessa in Le nozze di Figaro, Carolina in Il matrimonio segreto, L'Elisir d'Amore (Giannetta and Adina), and Il viaggio à Reims (Contessa di Folleville and Madama Cortese) at the Rossini Opera Festival in Pesaro. She has collaborated with leading conductors including Jesus Lopez Cobos, Placido Domingo, Jeffrey Tate, Alberto Zedda, Nicola Luisotti, Gianandrea Noseda, Donato Renzetti, Riccardo Frizza, Fabio Luisi, James Conlon, Bertrande de Billy, to name but a few. She sang the role of the Queen of the Night (Die Zauberflöte) at the Settimane Musicali di Stresa under the baton of Gianandrea Noseda and directed by Michele Placido, at the Teatro Carlo Felice in Genoa and at the Stuttgart Opera.
Other notable performances include Maria in West Side Story in Paris and Vienna; the Princesse, le Rossignol and le Feu in Ravel's L'enfant et les sortilèges at the Teatro San Carlo in Naples under the baton of Jeffrey Tate; she sang the three female roles in Don Giovanni under the baton of Nicola Luisotti at the Suntory Hall in Tokyo, ABAO-Bilbao, at the Festival dei due mondi in Spoleto and in Beijing; Micaela in Carmen in Cremona, Brescia, Pavia, Como. She performed the role Marie in the world premiere of Le malentendu by Matteo D'Amico at the Macerata Opera Festival, La vedova allegra at the Teatro Carlo Felice in Genoa and in Verona, Un giorno di regno (Marchesa del Poggio) in Parma and Juditha Triumphans in Macerata. She was acclaimed as Violetta in La traviata in Bilbao, Lucia in Lucia di Lammermoor and Eurydice in Orphée et Eurydice at the Seattle Opera, Luisa Fernanda at the Florida Grand Opera and at Les Arts in Valencia, Musetta in La bohème in Dallas and performed in Mayr's Medea in Corintho at the Festival della Valle d'Itria.
In recent seasons she has expanded her repertoire singing at the ABAO-OLBE in Bilbao Turandot, at the Gran Teatre del Liceu in Barcelona (Simon Boccanegra), at the Theater an der Wien (I Due Foscari, Macbeth), at the Teatro Regio in Turin (Pagliacci), at the Sferisterio in Macerata (Liù) directed by Ricci/Forte (a performance that won the Abbiati Prize) and at the Teatro San Carlo in Naples (Le Nozze di Figaro, Simon Boccanegra), Thais at the NCPA in Beijing. She made her debut in the role of Floria Tosca at the Teatro Regio di Torino under the baton of Daniel Oren and the baton of Mario Pontiggia.
In addition to the requested personal data, candidates must also provide the following:
· Curriculum vitae (in Italian or English)
· Motivational letter (in Italian or English)
· List of arias in the repertoire
· Link to video files in which the candidate sings an aria of his/her choice or a complete role