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CONGRESO INTERNACIONAL DE PROFESORES DE CANTO EUROVOX/ICVT7, París 2009 El canto pasado y presente: innovación
CONGRESO INTERNACIONAL DE PROFESORES DE CANTO EUROVOX/ICVT7, París 2009 El canto pasado y presente: innovación

CONGRESO INTERNACIONAL DE PROFESORES DE CANTO EUROVOX/ICVT7, París 2009 El canto pasado y presente: innovación y tradición

Vivimos un momento histórico en cuanto a la facilidad de las comunicaciones. Internet ha cobrado
Vivimos un momento histórico en cuanto a la
facilidad de las comunicaciones. Internet ha cobrado una
importancia sin igual en relación al acercamiento entre los
distintos pueblos y culturas. Esta herramienta nos ha
facilitado conocimiento de cada vez más estilos de canto,
más métodos de enseñanza, influencia de algunas terapias
en la voz, descubrimientos médicos que pueden ayudar a
la enseñanza del canto.
Sin embargo, en medio de tantas innovaciones,
aún en este nuevo siglo seguimos debatiendo sobre la
convivencia entre la técnica de canto clásico y la de canto
moderno, sus diferencias, la utilidad de cada una.
Del 15 al 19 de julio de 2009 tuvo lugar el Congreso
Internacional de Profesores de Canto en París al que
España acudió gracias a la beca del programa de
aprendizaje permanente Leonardo da Vinci de la Unión
Europea. El tema central del congreso fue el debate entre
la enseñanza del canto pasado y presente, entre la
tradición y las innovaciones.

Fueron 5 días intensivos de ponencias, talleres, clases magistrales etc. Una experiencia inolvidable a la vez que agotadora en un entorno como es el Follies Bergère de París, la famosa sala de variedades que tuvo su época de esplendor a finales del siglo XIX y principios del XX.

En 1987 se celebró el primer congreso ICVT en Estrasburgo. El congreso se convoca cada 4 años en diferentes partes del mundo. Esta ha sido la primera vez que España ha asistido a un congreso ICVT.

El comité organizador De arriba a abajo y de izquierda a derecha:

Marie José Ledru, Scott Swope, Dominique Daniel, Evelyne Koch, Yves Ormezzano, Marie Paule Hallard, Chantal Latour, Marvin Keenze, Paolo Zedda, Norma Enns, Anne Constantin, Claudia Phillips y François Le Roux.

Enns, Anne Constantin, Claudia Phillips y François Le Roux. AEPC Asociación Española de Profesores de Canto

EL PROGRAMA DE JÓVENES PROFESIONALES (YPP) EN ICVT7

La European Voice Teachers Association (EVTA) inauguró el Programa de Jóvenes Profesionales (YPP). En este programa se ofrecía la oportunidad a 18 jóvenes profesionales del mundo del canto a participar como alumnos activos en el congreso de París. Cada país integrante de EVTA podía enviar hasta 4 candidatos de los cuales, un comité compuesto por integrantes de EVTA y de ICVT seleccionaría uno.

El trabajo desarrollado por estos jóvenes como alumnos activos fue intensivo. Participaron en todas

las clases magistrales, en un concierto inaugural y colaboraron con los profesores en todas las demostraciones de repertorio que eran necesarias.

En este momento, la Asociación Española de Profesores de Canto (AEPC) no se encontraba con la suficiente infraestructura como para poder enviar esos 4 candidatos. Por eso entre los jóvenes seleccionados no se encontraba ningún cantante español. Sin embargo España fue capaz de enviar a 4 profesoras y una joven cantante. De entre las profesoras, una de ellas, María Beltrán, presentó una ponencia con el título: “La resonancia Edith Piaf”.

Los jóvenes que participaron en el congreso y un resumen de sus biografías figuran a
Los jóvenes que participaron en el congreso y un resumen de sus biografías figuran a continuación.
Como se puede observar, el porcentaje está muy equilibrado entre representantes de música lírica y de
música ligera. Sin embargo, como asociación, lo que más nos ha impresionado a AEPC es la enorme
preparación musical y teatral así como la experiencia de todos estos jóvenes a pesar de su juventud puesto
que ninguno supera los 30 años. Esto nos hace reflexionar sobre la preparación que se ofrece a nuestros
cantantes noveles y, sobre todo, las oportunidades de cantar de manera seria. Todos estos jóvenes cuentan
con un repertorio bastante consolidado y una preparación artística muy completa y debemos hacer examen
de conciencia sobre las carencias pedagógicas de nuestro país en materia de enseñanza de canto.
Y para comenzar a solucionar la situación, AEPC aprovechó la oportunidad del congreso para
mantener reuniones con representantes de asociaciones similares de varios países concretándose una línea
de actuación consistente en llevar a cabo actividades encaminadas al conocimiento y profundización en
repertorios específicos de otros países. Esta es sólo la primera de nuestras líneas de actuación que iremos
poniendo en marcha poco a poco puesto que debemos recorrer un arduo y largo camino para equiparar la
calidad de enseñanza del canto a la de otros países europeos.

Así la primera parte de esta serie de cooperaciones entre asociaciones se concretó entre AEPC y AFPC que convinieron realizar una actividad conjunta sobre la Música Vocal Francesa desde la mélodie hasta las últimas tendencias musicales francesas, pasando por las canciones melódicas de los años 40 a 90.

También la Asociación Sueca de Profesores de Técnica Vocal ofreció su cooperación, concretándose en conferencias y talleres sobre diversas temáticas entre las que destacan el conocimiento de la música vocal sueca y su repertorio y talleres sobre la preparación de personajes operísticos según el Teatro de la Ópera de Estocolmo.

La información sobre los jóvenes integrantes del Programa de Jóvenes Cantantes (YPP) ha sido extraída de la página oficial de EVTA y las biografías figuran en inglés. Sin embargo, se puede usar un traductor online para obtener una traducción rápida y cómoda:

Romana Beutel is currently studying voice at the Konservatorium Wien Privatuniversität with Uta Schwabe. In 2007 she completed her bachelor’s degree with honors. She has participated in master classes with Angelika Kirchschlager, Barbara Bonney, and Patricia Wise, and was awarded prizes at the Prima la musica (2004) and Fidelio (2006) competitions. In Baden, she sang Serpetta in Mozart’s Gärtnerin aus Liebe and Papagena in Die Zauberflöte. She has also sung Polly in John Gay’s The Beggar`s Opera, Poppea in Händel’s Agrippina, and the Bird in Judith Weir’s Blond Eckbert at the Wiener Kammeroper. She has sung major works such as Brahms’ Requiem in Vienna and performed as far abroad as Venezuela.

Requiem in Vienna and performed as far abroad as Venezuela. Leonardo Cortellazzi (1980) graduated with honours
Requiem in Vienna and performed as far abroad as Venezuela. Leonardo Cortellazzi (1980) graduated with honours

Leonardo Cortellazzi (1980) graduated with honours in Marketing from the School of Economy at Parma University and subsequently with highest honours from the Music Conservatory Arrigo Boito in Parma. In June 2008 he also completed a program in opera studies at the Teatro della Scala in Milan. He is currently studying voice with Maestro Lelio Capilupi. In 2003 he debuted in the role of Schmidt in Werther by Massenet. Subsequent roles have included Giocondo in Pietra del Paragone by Rossini, Ferrando in Cosi fan tutte, Don Basili in Le Nozze di Figaro, and Tamino in Die Zauberflöte. In 2006 he sang the role of Fracasso in a recording of Mozart’s La Finta Semplice.

Guillaume Delpech discovered music by beginning violin lessons at the age of 7 at the
Guillaume Delpech discovered music by beginning violin lessons at the age of 7 at
the Conservatoire National de Région de Bordeaux. He moved on to viola, then studied
classical guitar with Olivier Chassain. He sang as well with the children’s choir of the
Opera de Bordeaux from 1994 to 1996. Parallel, he pursued literary studies in
Hypokhâgne and Khâgne, and graduated in 2004 from the Ecole Supérieure de Commerce
de Bordeaux. He began studying voice in 2003 with Jacques Schwarz, first in Bordeaux,
then in Toulouse; he has also attended master classes with Jean-François Lombard,
Gabriel Bacquier, Mireille Larroche, and Jean Paul Fauchécourt at the Conservatory of
Toulouse in association with CESMD. He participated in the prize-winning recording of
Lamentatio by C. Festa for Arrion. He is currently continuing his studies in the
Department of Ancient Music in Toulouse. He also teaches voice at the School of Music of Villeneuve-sur-
Lot.
voice at the School of Music of Villeneuve-sur- Lot. Hinrich Horn began his study of voice

Hinrich Horn began his study of voice with Eike Tiedemann, Max Ciolek, and Philip Zenof (Sofia). He is currently completing his studies at the Hochschule für Musik und Theater Hannover, where he studied with Peter Anton Ling and Jacques Schwarz. Most recently, he sang the lead role in the university’s annual opera production: Mozart’s Le Nozze di Figaro. In addition, he has taken master classes with Ingrid Kremling, Irwin Gage, and Charles Spencer. His stage repertoire includes Renaissance music, roles such as Papageno, Guglielmo, Figaro, and Bim in Heinz Holliger’s What Where. Concert performances have taken him to Prague, Budapest, Vienna, and Indonesia. Together with his Lied partner, Fabiana Sisto, he was awarded second prize at two competitions in Pistoia and Brescia, Italy. In addition, he was given the prize for the most interesting program and best artistic presentation. He currently has guest contracts at the Nationaltheater Mannheim and the Staatsoper Hannover.

Aili Ikonen studied folk and jazz music at the Sibelius Academy in Helsinki, where she completed her bachelor’s degree in 2008. Her most significant teachers have been Aija Puurtinen, Maija Hapuoja, and Ritva Eerola. She has performed at several renowned jazz festivals both in Finland and abroad, was featured as a soloist with the UMO Jazz Orchestra, and won first prize at the inter-Scandinavian Young Nordic Jazz Comets contest in 2004. In addition to singing and composing with Kvalda, Aili is working with several

and composing with Kvalda , Aili is working with several AEPC Asociación Española de Profesores de

other bands such as Korpi Ensemble, Hereä, and Piiskaajat, which was the winner of the 2007 Finnish Folk Music Contest. In January 2009 she performed the role of Gill Bates in a contemporary “virtual opera,” Lovers of Mankind, which combined jazz elements with modern classical music.

Marie Karall started her musical training at the Conservatoire de Strasbourg and Conservatoire du IXe arrondissement de Paris studying voice with Anne Constantin. She continued at the Opera Studio in Rome with Renata Scotto. She currently works with Michele Command and Gabriel Bacquier. In addition, she has been awarded many grants and prizes, has had auspicious performances in London (Vernon Ellis/English National Opera), at the theatre of Montluçon, the Polish embassy in Paris and in the project Young Talents 08/09 led by Alain Duault. She has sung at the National Opera of Lorraine with Jose Cura, has performed Suzanne in Offenbach’s ''Un mari à la porte'' in several French productions. Future plans include an appearance at the Montpellier Opera and the Imperial Theatre of Compiègne, Eurydice in Gluck's Orphée & Eurydice', Dorothee in Massenet's Cendrillon at the Massy Opera, and Taven in Gounod’s Mireille. Further pléiades musicales festival, in Bastia and Mâcon. Additional repertoire includes Charlotte (Werther), Leonora (La Favorite) or Dido (Dido & Aeneas).

), Leonora ( La Favorite ) or Dido ( Dido & Aeneas ). Anamarija Lazarevič (1988)
Anamarija Lazarevič (1988) began her musical training studying piano with Lenka Naber at the Music
Anamarija Lazarevič (1988) began her musical training studying piano with Lenka Naber
at the Music School Ljubljana Moste-Polje. She began singing lessons at age 14 with Pija
Brodnik at the Music School Ljubljana Vič-Rudnik, where she is currently continuing her
study of voice. Anamarija has performed at numerous school recitals, stage productions
(operetta and opera ensembles), and charity concerts. She has been successful in many
national competitions and, most recently, was awarded second prize at the International
Singing Competition Ithaka in 2006. She occasionally performs with the Tine Rožanc folk
group, with whom she sings a repertoire of national songs at concerts and festivals. She is
also a student in the biotechnical department at the University of Ljubljana.

Gareth Nash joined the Morlais Male Voice Choir when he was 16; his first singing teacher was its accompanist, Rosalie Evans. He graduated from Trinity College (Carmarthen) in 2004 with a BA hons in Theatre, Cerdd, a'r Cyfryngau (Theatre, Music and Media). While at Trinity, Gareth trained under Marian Thomas and Janet Massochi. A fluent Welsh speaker (and singer!), he performed the lead roles in both the Welsh musical Pum Diwrnod o Ryddid and the English language production of Gilbert and Sullivan’s The Pirates of Penzance. In 2004 he won the Ian Fleming Musical Theatre Award and went on to study musical theatre at The Royal Academy of Music, London. There he trained under Gareth Roberts, Mary Hammond, Seaphen Hill, and Ann-Marie Speed, while also attending numerous master classes before graduating in 2005. In 2006 Gareth spent six months on the P&O cruise ship MV Aurora as part of its theatre company, and from June 2007 to the present he has been playing the role of Joly in the West End cast of Les Miserables at the Queen's Theatre.

End cast of Les Miserables at the Queen's Theatre. After graduating with a Baccalaureat Litteraire in

After graduating with a Baccalaureat Litteraire in 2004, Julia Orcet followed a two-year course of study in Paris at the Ecole de la Manufacture de la Chanson. There, she studied vocal and stage technique, learned script-writing, and had the opportunity to work with professors such as Anouck Manetti and Michel Troise. Her training culminated in a performance of her own show at the Theatre Lavoir Moderne. The following year her success in a vocal competition (Le Mans Cité Chanson) granted her the honor of performing at the Palais des Congres du Mans. She has also appeared in artists’ first productions such as Laurent Malot and Eric Guilleton, performing at the Forum Léo Férré, at the Theatre of Ménilmontant, and the Theatre d’Etampes. She loves solo singing, but is also quite interested in choral music.

solo singing, but is also quite interested in choral music. AEPC Asociación Española de Profesores de
Cyrielle Sauvage (1988) became involved in the world of music at a very young age.

Cyrielle Sauvage (1988) became involved in the world of music at a very young age. She began her vocal studies at the age of 15 at the Conservatoire de Montereau fault Yonne with Armelle Cabral with classical then popular music repertoire. She was successful in many competitions 2001 2006, resulting in television appearances as well as studio recordings. In 2006 she began studies at the Institut Professionnel des Arts de la Scene Rick Odums in Paris, where she studied voice with Sarah Sanders, Laurent Mercou and Nathalie Dupuy, theatre with Guy Shelley and Stanislas Grassian, and classical dance, jazz and hip hop with Béatrice Marois, Christelle Chinonis, Millard Hurley and Jean-Pierre Chandler. She was cast for in vocal solos and roles at various school performances, including the "femme du peuple" for Le Roi Soleil, Doc (readapted for a woman) in West Side Story, and a smaller role in Hair. Today, Cyrielle works for two artist composers in a hip-hop reggae style as a singer and chorister giving opportunites to perform in great halls such as the Gibus or the New Morning. Cyrille is working on her first album with her group, Welcome. She most recently won second place at the Crescendo competition in Paris as an author, composer and interpreter.

Marysol Schalit (1982) began studying singing at the Universität der Künste Bern/Biel, where she completed
Marysol Schalit (1982) began studying singing at the Universität der Künste Bern/Biel,
where she completed her concert diploma with distinction in 2007. She is currently a
member of the Swiss Opera Studio Biel and is continuing work toward a solo diploma.
Studying with Marianne Kohler, she is also broadening her training in master classes
with Krisztina Làki, Jadwiga Rappé, Cornelia Kallisch, Yvonne Naef, and Gérard Wyss.
She is active as a concert singer, while also performing in several musicals, cabarets,
and theatre productions. In 2007 she sang the part of Amour in Gluck’s Orpheus and
Eurydice with the baroque orchestra Cantus Firmus. Recent roles include Despina in
Mozart’s Cosi fan tutte at the Biennale Bern and Theatre Biel/Solothurn and Flora in
Benjamin Britten’s The Turn Of Screw. This season she will appear as Guadalena and Manuelita in
Offenbach’s La Périchole. She has won awards from numerous organizations and competitions, including the
Friedel Wald–Stiftung (2006), the Kiefer Hablitzel, the Hedwig Collard-Scherer Stiftung (2008), and the
International Simandy Josef Competition in Hungary (2008).
International Simandy Josef Competition in Hungary (2008). Christina Sutter (1987) was born in Ahmedabad, India, and

Christina Sutter (1987) was born in Ahmedabad, India, and grew up in Olten, Switzerland, the youngest of five children. There, she began flute lessons at age 8 and piano at 12. During the last three years of high school she began singing lessons with Lucie Schibler and Daphné Mosimann. She then studied classical singing (since 2006) with Liliane Zürcher at the Hochschule Luzern/Musik, while also attending master classes with Margreet Honig and Klaus Mertens. She has most recently been singing with ensembles and choirs at the KKL Lucerne, the Stadttheater Bern, and the Sala Nervi in Rome. Apart from singing, she enjoys Latin and Middle Eastern dance.

Erika Tordéus made her solo debut in Carnegie Hall at the age of 22. She has performed in the United States, England, Greece, Cyprus, Germany, Russia, Estonia, Finland, Norway, and Sweden, singing with the American contemporary music ensemble ALEA III, the Cyprus State Orchestra, the Athens Chamber Orchestra, the Hamptons Festival Orchestra, and the Mellersta Upplands Chamber Orchestra. She has worked with a variety of noted conductors, including Lukas Foss and Simon Carrington. Erika did her undergraduate studies at the New England Conservatory of Music in Boston (USA), her elementary opera studies at the Stockholm Opera Studio 67, and she is currently studying toward a master’s degree in opera at Gothenburg University in Sweden. Erika’s main voice teachers to date have been Susan Clickner, Iwa Sörenson, and Birgit Louise Frandsen Irestad.

Clickner, Iwa Sörenson, and Birgit Louise Frandsen Irestad. AEPC Asociación Española de Profesores de Canto /
Matti Turunen is studying sacred music at the Sibelius Academy in Helsinki with Pekka Kähkönen,

Matti Turunen is studying sacred music at the Sibelius Academy in Helsinki with Pekka Kähkönen, voice, and Ville Urponen, organ. He previsiously studied music at the Conservatory of Joensuu with Rauno Keltanen, voice, and Janne Mertanen, piano. He has taken additional master classes in singing with Jorma Hynninen and Erkki Rajamäki, as well as Tom Krause, Matti Salminen, and Hannu Niemelä. This past season, 2008-09, he was a trainee at the Finnish National Opera, debuting as the Einarmige in Strauss’s Die Frau Ohne Schatten. Additional roles to date are Tevye in Fiddler on the Roof, Menelaos in Women of Troy, and the Eremit in Der Freischütz. He has also composed two services for the Evangelical Lutheran Church, called Service of Young Fate and Service of Peace. He has broad tastes in music as well as food!

Maartje Waanders (1981) began music studies at the age of 9 with classical piano lessons.
Maartje Waanders (1981) began music studies at the age of 9 with classical piano
lessons. She then studied music education and pop and jazz singing at the ArtEZ
Conservatory in Arnhem, where she completed her Bachelor degrees in 2003 and
2007 respectively. In June 2009 she will receive her Masters degree at the Messiaen
Academie. Her most significant teachers were Jolande Geven, Mariëlle Vester,
Mathilde Santing and Ineke van Doorn. She has taken master classes with Alberto ter
Doest, Tom Salisbury, Jeroen Willems and Hans Dulfer. Currently, Maartje performs
with several pop- and jazz bands and theatre groups. She is often asked as a soloist
for orchestras and pop/gospel choirs, works in studios and sings backing vocals (e.g.
Johnny Logan). Additionally, she has her own private practice in singing, and
performs frequently with her personal pianist.
After completing a BA in Linguistics and German, Derek Welton went on to receive a
master’s degree in music and recently completed the Opera Course at the Guildhall
School of Music and Drama under the tutelage of Janice Chapman. His operatic roles
include Silvano in Cavalli’s La Calisto, Vertigo in Gluck’s La rencontre imprévue,
Podkolyosin in Martinu’s The Marriage, Falstaff in Salieri’s Falstaff, the Count in Mozart’s
Nozze di Figaro, Masetto in Don Giovanni, Guglielmo in Cosi Fan Tutte, Papageno in Die
Zauberflöte. His concert appearances include performances at venues such as the
Barbican and the Royal Albert Hall, where he has performed a wide range of choral and
song repertoire. He has won three competitions to date: the 2007 Handel Singing
Competition (UK), 2005 Geelong Aria, and 2004 Australian Youth Aria.

Barbara Zamek-Gliszczyoska (1985) was a member of the Alla Polacca Children’s Choir affiliated with the National Theatre in Warsaw. She continued her musical education in the Fryderyk Chopin Music High School in Warsaw where her teacher Hanna Rejmer prepared her for study at the Fryderyk Chopin Music University in Warsaw. She is now completing her second year as a student of Bożena Betley. Barbara has won several competitions: 1. Mieczysław Karłowicz National Vocal Competition in Kraków, 3. Krystyna Jamroz National Vocal Competition in Wrocław, and the 8. Stanisław Moniuszko International Competition “Pieśo Wieczorna” (Night Song).

Competition “Pieśo Wieczorna” (Night Song). AEPC Asociación Española de Profesores de Canto / NIF.

El miércoles 15 de julio a las 9 de la mañana dio comienzo el Congreso. Pero hasta las 13 horas no se celebró la ceremonia de apertura.

hasta las 13 horas no se celebró la ceremonia de apertura. Follies Bergère, fachada Follies Bergère,

Follies Bergère, fachada

celebró la ceremonia de apertura. Follies Bergère, fachada Follies Bergère, Foyer AEPC Asociación Española de
celebró la ceremonia de apertura. Follies Bergère, fachada Follies Bergère, Foyer AEPC Asociación Española de

Follies Bergère, Foyer

Follies Bergère, vista de escalera

Follies Bergère, vista de escalera AEPC Asociación Española de Profesores de Canto / NIF. G-84235365 /
Follies Bergère, vista de escalera AEPC Asociación Española de Profesores de Canto / NIF. G-84235365 /

Los representantes españoles pertenecientes a la junta directiva de AEPC estuvimos a primera hora puesto que a las 10 comenzaba una ronda de reuniones de EVTA e ICVT. Uno de los principales temas del día era la votación para la reforma de los estatutos de EVTA.

Reunión EVTA, al fondo a la derecha junta de AEPC
Reunión EVTA, al fondo a la derecha junta de AEPC
de EVTA. Reunión EVTA, al fondo a la derecha junta de AEPC Junta directiva de EVTA

Junta directiva de EVTA

Junta directiva de EVTA

Junta directiva de EVTA Marvin Keenze, Coordinador Internacional de NATS y presidente de ICVT La cantidad
Marvin Keenze, Coordinador Internacional de NATS y presidente de ICVT
Marvin Keenze, Coordinador Internacional de NATS y presidente de ICVT

La cantidad de reuniones seguidas con distinta temática originó esta imagen tan curiosa. La junta y el resto de representantes de asociaciones, almorzando en el lugar de reuniones. Los representantes españoles a esa hora sólo salimos a tomar café.

A las 15 horas comenzó la ceremonia de apertura. A continuación, distintos momentos de la ceremonia, panorámica del Follies y discursos inaugurales. Por parte de AEPC acudieron a ICVT7: Marianne Ax, presidente, Elena Montaña, vicepresidente, Pilar Lirio, secretaria, María Beltrán, socio, Miriam García, alumna.

secretaria, María Beltrán, socio, Miriam García, alumna. Discurso de Norma Enns, presidenta de EVTA y los

Discurso de Norma Enns, presidenta de EVTA y los jóvenes seleccionados para participar en el congreso a través del YPP (Young Professionals Programme)

Marvin Keenze y Claudia Phillips
Marvin Keenze y Claudia Phillips

Escenificación a modo de “cheerleaders” de las letras del anagrama ICVT

PROGRAMA

Algunos profesores participantes en el congreso han sido muy amables al ceder los escritos de sus ponencias o de sus talleres y ponerlos a disposición de todo aquel que desee leerlos. Para acceder a las ponencias es necesario entrar en la web y pinchar en el título de cada ponencia.

PONENCIAS Y TALLERES

MIÉRCOLES 15

Dr. Susana Zapke - The Archeology of Singing Richard Cross - Three solutions to singing
Dr. Susana Zapke - The Archeology of Singing
Richard Cross - Three solutions to singing high notes

Agnes Mellon - Baroque Singing

to singing high notes Agnes Mellon - Baroque Singing Paolo Zedda/Marybel Dessagnes - Hommage a Nicola

Paolo Zedda/Marybel Dessagnes - Hommage a Nicola Vaccai

Paolo Zedda/Marybel Dessagnes - Hommage a Nicola Vaccai AEPC Asociación Española de Profesores de Canto /

Concierto de apertura: Tradición e innovación en el canto. Concierto de los estudiantes europeos

en el canto. Concierto de los estudiantes europeos AEPC Asociación Española de Profesores de Canto /
en el canto. Concierto de los estudiantes europeos AEPC Asociación Española de Profesores de Canto /
en el canto. Concierto de los estudiantes europeos AEPC Asociación Española de Profesores de Canto /
en el canto. Concierto de los estudiantes europeos AEPC Asociación Española de Profesores de Canto /
AEPC Asociación Española de Profesores de Canto / NIF. G-84235365 / Apdo. Correos 21133, 28080
AEPC Asociación Española de Profesores de Canto / NIF. G-84235365 / Apdo. Correos 21133, 28080
AEPC Asociación Española de Profesores de Canto / NIF. G-84235365 / Apdo. Correos 21133, 28080
AEPC Asociación Española de Profesores de Canto / NIF. G-84235365 / Apdo. Correos 21133, 28080

JUEVES 16

Melanie Jackson - Singing and Qi Gong

JUEVES 16 Melanie Jackson - Singing and Qi Gong AEPC Asociación Española de Profesores de Canto
AEPC Asociación Española de Profesores de Canto / NIF. G-84235365 / Apdo. Correos 21133, 28080

Dr. Nathalie Henrich - Between Vibrations and Resonances

Dr. Nathalie Henrich - Between Vibrations and Resonances François Le Roux – Master Class: Rare French
Dr. Nathalie Henrich - Between Vibrations and Resonances François Le Roux – Master Class: Rare French

François Le Roux Master Class: Rare French Melodies

François Le Roux – Master Class: Rare French Melodies AEPC Asociación Española de Profesores de Canto
François Le Roux – Master Class: Rare French Melodies AEPC Asociación Española de Profesores de Canto

Barre Phillips: The art of improvisation

Barre Phillips: The art of improvisation Lukas Haselboeck - French and Austrian Vocal Music 1890-1914 Marianne

Marianne Liljas - David Bjoerling

Jeannie Darnell - Boys to Men

Dr. Duane Karna - Choral Acoustics

Dr. Duane Karna - Choral Acoustics AEPC Asociación Española de Profesores de Canto / NIF. G-84235365

VIERNES 17

Dr. Bernhard Richter/Dr. Matthias Echternach - Real Time MRI

Sarah Sanders – Popular Music Master Class
Sarah Sanders – Popular Music Master Class

Janice Chapman - Breathing and Support: The Use of the Accent Method

- Breathing and Support: The Use of the Accent Method Dominique Desmons - The French Chanson
Dominique Desmons - The French Chanson
Dominique Desmons - The French Chanson

Kathleen Roland Silverstein - The Swedish Opera: Marie Antoinette

Dr. Peter Ling - The Fach System

Roundtable: Making a Career in Opera: Susan Kane, Jill Segal , Therese Renick , Peter Ling

SÁBADO 18

Nadia Vadori - Being Present in the Here and Now

Dr. Gerard Chevallier - The Saturated Voice of Rock Singers

Dr. Gerard Chevallier - The Saturated Voice of Rock Singers AEPC Asociación Española de Profesores de

Jeniffer Smith Master Class: French Opera

Jeniffer Smith – Master Class: French Opera AEPC Asociación Española de Profesores de Canto / NIF.
Anna Gotti - How to Sing Standards with a Jazz Feel AEPC Asociación Española de Profesores
Suzanne Draayer - Lets Sing Spanish Art Song! AEPC Asociación Española de Profesores de Canto /
Suzanne Draayer - Lets Sing Spanish Art Song! AEPC Asociación Española de Profesores de Canto /
Suzanne Draayer - Lets Sing Spanish Art Song! AEPC Asociación Española de Profesores de Canto /

Cecilia Montemayor - Art Song of Mexico

Cecilia Montemayor - Art Song of Mexico Dr. Mei Zhong - Chinese Art Song Maria Beltran
Cecilia Montemayor - Art Song of Mexico Dr. Mei Zhong - Chinese Art Song Maria Beltran

Dr. Mei Zhong - Chinese Art Song

- Art Song of Mexico Dr. Mei Zhong - Chinese Art Song Maria Beltran - Piaf

Maria Beltran - Piaf Resonance

DOMINGO 19

Donald Dumpson - Gospel for Everyone

DOMINGO 19 Donald Dumpson - Gospel for Everyone AEPC Asociación Española de Profesores de Canto /
AEPC Asociación Española de Profesores de Canto / NIF. G-84235365 / Apdo. Correos 21133, 28080

Dr. Karin Knoll - Training for Top Performance in Elite Sport

Valérie Phillipin Contemporary Music

Music Martha Herr - 20th Century Brazilian Song Tran Quang Hai - Voices of the World
Music Martha Herr - 20th Century Brazilian Song Tran Quang Hai - Voices of the World

Tran Quang Hai - Voices of the World

Ceremonia de clausura: Discursos de despedida

La delegación australiana toma la palabra para presentar el proyecto de ICVT8 que tendrá lugar
La delegación australiana toma la palabra para presentar el proyecto de ICVT8 que tendrá lugar en
ese país en 2013.

Finalmente los alumnos del Programa de Jóvenes Profesionales cantan a coro e imitan la coreografía “cheerleader” de la ceremonia de apertura.

“cheerleader” de la ceremonia de apertura. AEPC Asociación Española de Profesores de Canto / NIF.

POSTER SESSIONS

Las poster sessions o sesiones de cartels, completaron el congreso de París. Una poster session consiste en la presentación de información en un congreso o en una conferencia con un enfoque académico o profesional. Normalmente se suele separar una estancia o un piso en una feria o conferencia para la sesión de carteles donde los investigadores ilustran con un cartel sus métodos de investigación y sus resultados. El investigador responde en el acto a las preguntas de sus colegas.

JUEVES 16

Teja Saksida - Vinko Globokar Lisa Popiel - Ingredients of American Vocal Styles and handout

- Ingredients of American Vocal Styles and handout AEPC Asociación Española de Profesores de Canto /

Jane Kristen Hagness - 20th and 21st Century Works for Soprano and Marimba Tammie Huntington - Jody Nagel's Opera Fifty-Third Street Patrice Michaels - Divas of Mozart's Day Judy Bellingham - Songs of Love and the Land Kevin Hanrahan - Effect of Auditory Feedback in Singing Heather Hunnicut - Stage Fright and Singers and handout Berislov Jerkovic - Human Voice and Psycho-physical Training Olugbemi Matthew Adesanjo - Preparation for Performance Psychophysiospiritual Analysis Wladimir Mattos - Brazilian Portugese- Norms for Lyric Diction Minoru Yamada - The Essential Practice for Consonant Morten Sadolin - Power and Safety in Voice Production - Acoustic Control

VIERNES 17

Scott Harrison - Sing For Life Sally Collyer - Bringing Breathing Science into the Voice Studio and handout Sally Collyer/diana Kenny/Michaele Archer - Does How You Breath Really Change How You Sound Marie-Therese Boiton-Rivoli - The Freedom of Voice Martha Sheil - The Legacy Lives On Kevin Hanrahan - The Global Masterclass Kathy Woodley - Vocal Mentoring Daniel Robinson - Singing for Contemporary Christian Worship and handout Flora Edwards - Must the Singing Voice in Age Be Silent Diane Hughes - The Vocal Journal Kristine Hurst-Wajszczuk - Do They Really Get It? Using Kolb LSI Susan Yarnall/Susan Monks - The Role of Vocal Identity

SÁBADO 18
SÁBADO 18

Tracy Bourne/Maeva Garnier - Laryngeal Mechanism and Vocal Tract Resonance in Music Theatre Voice and abstract Franciose Vanhecke - Cathy Aggett - Strategies for Baritones in Singing Australian Art Song and handout Jana Holtzmeier - Grit and Grazioso: the Songs of Vincent Persichetti and handout Kristine Hurst-Wajszczuk - Causes and Treatments of Perfomrance Anxiety in Singers Kevin Hanrahan - Second Formant Relationship to Adduction Katherine Wells - Three Levels of Song Patircia Caicedo - Discovering Latin-American Soul Through Song and Poetry Mihaela Buhaiciuc - Elements of Style in enescu's Sept chansons de Clement Marot Teresa Radomski - Recovering the Salon Operas of Manuel del Populo Vincente Garcia Jessica McCormack - The Influence of National Styles on Pauline Viardot Anne Harley - Russian Female Aristocratic Composers Catalina Ionela Chelaru - Le Complexe d'inferiorite dans l'art

Informe elaborado por Pilar Lirio (Secretaria y Coordinadora Internacional AEPC)

Pilar Lirio (Secretaria y Coordinadora Internacional AEPC) AEPC Asociación Española de Profesores de Canto / NIF.
Pilar Lirio (Secretaria y Coordinadora Internacional AEPC) AEPC Asociación Española de Profesores de Canto / NIF.
Pilar Lirio (Secretaria y Coordinadora Internacional AEPC) AEPC Asociación Española de Profesores de Canto / NIF.