As the work of Mike Leigh has continuously and successfully demonstrated, improvisation has the potential to enable the actor to engage fully with his or her total resources for acting. This one-day improvisation workshop will employ selected elements of Leigh’s method and provide participants with the opportunity to explore the behaviour of characters in real-life dilemmas with the potential to develop into highly-dramatic situations. The emphasis will be on group work, sustained concentration, imagination, creativity, truthfulness and belief.
Paul Clements, who was the founding Artistic Director of Manchester’s Contact Theatre Company, was Director of Drama at the Royal Welsh College of Music and Drama before becoming Principal of Mountview Academy of Theatre Arts, 1996 – 2008. He has run courses and workshops in Improvisation in the UK, Canada, Denmark, Norway and Sweden. He is the author of The Improvised Play – The Work of Mike Leigh and his translation, together with Sabine Berendse, of Ask Me More About Brecht – Hanns Eisler in Conversation with Hans Bunge is due for publication later in 2013.
Join us for a series of 4 evening Opera Masterclasses with eminent industry professionals covering a variety of operatic repertoire. A great opportunity to work on your arias from different perspectives and to freshen up repertoire for the fall audition season.
We are thrilled that Anne-Marie Owens, Sally Burgess, Graeme Danby, Liz Rowe and Samuel Krum (Robert Gilder & Co) will be joining us to impart their vast experience and knowledge.
NB – This course is now full – to be put on the waiting list or to register your interest for another Opera Masterclass Series please email us on email@example.com
The Art of Yoga – these practices are a powerful tool to help you survive the constant physical, emotional and intellectual challenges you are facing. Dr Angela Hass teaches the basic techniques of Meditation, Yoga and Breathing. An experienced, highly qualified Yoga teacher and ‘Art of Living’ practitioner; Dr Hass is also an art historian, lecturer and author, and is familiar with the challenges faced by performers and artists. She visited London from Australia.
Rebecca has been a frequent guest of Associated Studios from the inception of the Opera Course. Her masterclasses focus on the marriage of dramatic intent with singing that is technically free, unobstructed and with beauty of timbre and line.
Wyn has conducted most major British opera companies, The Metropolitan Opera and New Zealand Opera.
Chorus Master at Glyndebourne, Assistant Conductor to Vladimir Jurowski at the LPO, Tom worked intensively with Director Max Key on Britten’s Turn of The Screw over three weeks with the 2011 Spring Opera Studio.
Conductor for ETO, Garsington, Opera Rara, Robin’s masterclasses focus particularly on line, interpretation and text, especially within Bel Canto repertoire.
Professor at the RCM and opera coach with the Jette Parker Young Artist Programme, Natalie has worked with Glyndebourne Festival Opera, ETO, Opera Holland Park and BBC Cardiff Singer of the World. Natalie’s sessions are direct, honest and detailed.
Senior Coach at Glyndebourne and a frequent guest of NOS, Jonathan’s wealth of experience and sensitivity to Mozart and Britten has resulted in outstanding, vibrant and productive masterclasses.
Associate conductor at Les Arts Florissants, assistant conductor to William Christie, Jonathan has also conducted at Glyndebourne, ENO and Dijon Opera. His energy, humour and incredible knowledge of baroque repertoire has enriched and inspired the Opera Studio over the past four courses.
Conductor with ENO, Opera North, Luzern, Opera Australia and New York City Opera, Brad frequently visits the studio to deliver masterclasses on Bel Canto repertoire.
Artistic Director for the Jette Parker Young Artists Programme at the Royal Opera House and internationally renowned coach and assistant conductor. David spent time with our Spring Opera Studio working specifically in an audition context and on the importance of dramatic expression in cadenzas.