“GIVING VOICE TO INDIA”

Vocal training in India by Patricia Rozario and Mark Troop.

An assessment by Mark Troop of Course 3: April 2010 in Mumbai & Goa Introductory Giving Voice to India is an ongoing long term project to improve the singing of western classical music in India, and to increase the enjoyment and appreciation of that music. It appeals to all who wish to sing, from choir members to potential soloists, and to all those who wish to enjoy singing well. Giving Voice to India seeks to run four times per year at three month intervals. It is given by world renowned soprano Patricia Rozario, OBE and her husband, pianist, writer, composer and broadcaster, Mark Troop. The course consists of a carefully constructed programme of vocal exercises, recording student progress, language development and style and interpretation.  Giving Voice to India started with a four-concert series in August 2009, where students were selected through master classes. The teaching course started fully in December 09 – January 2010 in Goa and Mumbai respectively, and has just completed its second outing in April 2010 (also Goa & Mumbai).

Mumbai April 2010: report Course Information The course was held in the Little Theatre at the NCPA in Mumbai, and lasted five full days.  We decided to extend the times (originally 10a.m. till 5p.m.) to 9.30a.m. till 6 or 6.30p.m. This enabled individual attention for each student. Numbers were increased from our January 2010 course with the total number reaching 15.  Due to the limit in the number of students we have placed, we were, unfortunately, forced to exclude a few students.  The 15 pupils attended all sessions over the five days – a credit both to the course and to the students. The class was divided into six we had taught before in January and nine that were new. Standards were very mixed, as we expected. The structure of our teaching work – a mixture of individual and group sessions – allows us to cater for widely differing standards effectively. Students ranged from one that was only just starting off her classical training to several very experienced singers Each day had the same format: Individual technical lessons in vocal technique given by Patricia Rozario (20 minutes per pupil); provided on a forty minute, two pupils at a time basis, recorded for each student Group work, covering style, interpretation and language by vocal coach Mark Troop; each pupil singing prepared repertory individually An afternoon session with Patricia and Mark together – linking the technical with the stylistic At the end of the course there was an informal concert for the students and one or two invited guests. General assessment Level of improvement

There was a clear improvement in the vocal development of every student over the five days. People hearing them at the start and the end of the course were amazed at the difference. This included better intonation, more consistency over the range of the voice, better projection of sound, general tightening up of excess vibrato.

Technically: the vocal exercises freed up all the voices, improving accuracy and projection of sound. Ranges of the voices were increased, and consistency and strength improved.
Musically: the pupils were coached intensively in Italian, German and French and also in English, insofar as it is a difficult language in which to sing. There were big improvements in Italian and German, greater difficulties being associated with French. This in itself led to vocal improvements – when the language is correct, the voice is freer and projects better.
Interpretation: students were introduced to ‘the projection of the musical idea’ as integral to song performance. The vocal and language work is prior and necessary for this vital musical concept, and by and large they coped well, with the results plain to see in the final concert.
January Course
The six from the January course had already improved in the intervening 3 months.  We were pleased that virtually the whole January group came back, with only one missing through last minute engagements. One of the core principles underlying our teaching is that continuity be maintained from one session to another.  We are then able to build on core principles already laid down. That these principles are effective can then be displayed to the new students.
We were held up by the airline crisis and had to stay a few days longer in Mumbai. This allowed us to contact and work with one of the potential voice teachers in Mumbai (who had attended the January course), who is able to carry on with Patricia’s exercise regimen effectively in our absence.
Assessment of prospects
Six of the pupils attending this course are possible candidates for long term development. Their potential is such that further training will yield great benefit. Given commitment, training and enough time there is potential to develop voices of exceptional quality.
From a class of only 15 students this is a very creditable result.
The other students are not necessarily lesser in terms of quality or achievement, merely not at the right stage for long term development (for instance the voice being already mature, or the candidate having settled work patterns)

Goa April 2010: report
Course Information and assessment

The course was held at the Kala Academy in Panjim.  Sessions were held between 10 a.m. and 5 p.m. every day, with an informal concert held at the end.
We had five students who attended the full course. The structure was the same as in Mumbai – individual technical sessions, recorded for each student; group work on style, interpretation and language. The spread of singers was more diverse, coming from classical, jazz and pop backgrounds, but all were interested in developing their natural voices. Two were return students from our December 09 course.  The reason for the low turnout was undoubtedly because the timing conflicted badly with exams.
The level of improvement was very great, and we isolated one singer in particular who has definite potential to take her classical singing very much further.
We think that the situation in Goa is more complex than in the larger cities, owing to a spread of population over various villages and towns, and generally interest in styles other than classical and jazz.
On the other hand, there is a clear commitment to starting a vocal department at the Kala Academy to match its excellent teaching in the other western music disciplines. We were fortunate to have in-kind help from Kala and significant assistance from Dr Luis Dias, who runs a musical charity for orphans, who advertised our course and undertook all the liaison work.

Acknowledgements:
In Mumbai, the course was organised by the Poona Music Society & National Centre for the Performing Arts (NCPA)
With significant support from Furtados, Mumbai
Special thanks to Myrna Fernandes

In Goa, the course was organised by Dr. Luis Dias & Kala Academy
Special thanks to Margarida Miranda

With generous support from the Inlaks Shivdasani Foundation 
In collaboration with