“Giving
Voice to India”
Vocal Training in India by Patricia Rozario & Mark Troop
Completion of one year: August 2009 to July 2010
‘Giving Voice to
India’, the vocal training project, initiated in India by the
world renowned soprano, Patricia Rozario and her husband, pianist,
writer, composer and broadcaster, Mark Troop, has completed one
year. The assessment below is based on reports that Mark has
kindly prepared at the end of each of the four sessions.
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. It addresses a genuine interest in acquiring vocal guidance and technical support in India.
Giving Voice to India has, to date, offered four sessions, starting with an audition (Session 1), where students were selected, in August 2009, followed by three courses (Sessions 2, 3, & 4) in Mumbai and Goa in December 09/January 10, April 10 and July 10 respectively.
Each course consisted of a carefully constructed programme of vocal exercises, recording of student progress, language development and style and interpretation. The two fundamentals of the course remain
• Proper vocal technique
• Correct style
• Technique was addressed by individual vocal sessions of at least 30 minutes with Patricia every day. All sessions were recorded, giving each student a copy of their specific issues. This is the backbone of the vocal work in India.
• This was followed by the general style/interpretation class with Mark, singing prepared repertoire and receiving stylistic improvement. Correct style includes language, music history, specific styles of country and composer. The languages involved were Italian, German, French and English, taking a text, explaining the basics of pronunciation and how it is related to singing. At the start and end of each day, the students came together, singing through pieces that had been worked on.
Each course ended with an informal concert for the students and a few invited guests.
The courses are limited in number and it has been encouraging to note that almost all the students in Mumbai have not only been attending the entire five/ six days – a credit both to the course and the students with multiple occupations – but have been returning to each consecutive course. One of the essential elements underlying the teaching is continuity from one session to another, thus enabling Patricia and Mark to build on core principles already laid down. Where standards were mixed, something to be expected, the structure of their teaching work allowed them to cater to the differing levels effectively.
The style aspects covered in the different courses have been i) Oratorio (what it is, how it differs from opera and Art Song, the stylistic differences between Baroque and other forms of Oratorios), ii) Opera (delineation of dramatic elements of opera scenes), iii) Art Song (as small-scale opera, developing the students’ sensitivity to effective transmission of the poetic idea channelled through language and music). It is interesting to note here that some students have been following language classes in the intervening period between the courses. This
has resulted in a readiness to tackle unfamiliarity in languages and overall confidence in taking on repertoire in different languages.
The situation in Goa was more complex, owing to a spread of population over various villages and towns and generally interest in styles other than classical, such as jazz and pop. However all the singers attending the courses over one year have been vastly interested in developing their natural voices, whatever their musical background and interests. The issue of attracting more students from a classical background is being addressed at present.
It is heartening to note, in both Mumbai and Goa, the significant and rapid progress in the students after one year of teaching. This is due to a certain level of achievement already attained in India, a readiness to move forward quickly. Numerous suggestions for further repertory are left with the participants for learning prior to the next course, in the sure knowledge that they can cope. With the sound and clear technical instructions received, several of the students are now able to increase their range, to which 5, 6 or even 8 notes are added in some cases.
It was of considerable interest that one student in the Mumbai course is a singing teacher. This will be of significant help in the future as training competent teachers is one of the core aims of the project.
It is also encouraging to note that the courses have revealed potential, in some students, for possible long-term development. One of the Mumbai students has already gone to the USA to start a Masters at Mannes School of Music, and two more have attended the prestigious Salzburg Summer Course in Austria. They are both planning to audition this December in London for further specialist vocal studies. For a class of 14 students, this is a very creditable – and highly encouraging – result. It also emphasises the need for a number of new students to join the courses as, with time, one or two may leave to study abroad.
Given commitment, training and enough time, there is potential, in India, to develop voices of exceptional quality. The further Patricia and Mark are able to take their work, the more they will develop:
• A generation of Indian singers capable of maintaining international singing standards
• A core audience interested in western art music that will support those singers.
The one year of teaching has shown vast improvement, despite greatly different starting points. There have been no backward steps at all – each course has started at a level higher than the previous. This is particularly pleasing as doubts were raised as to whether intermittent teaching was effective. As so many of the students are returning regularly to the course, the project is now building up a nucleus of well-informed and educated singers. This will have far-reaching implications as the word spreads.
Funding remains a source of concern with much of the costs of two of the year’s four sessions being undertaken by Patricia and Mark in order to ensure the continuity of the project. We actively encourage organisations, individuals and patrons of the arts to support ‘Giving Voice to India’, so the high costs of travel and the time spent in the remarkable training offered by them are recompensed in keeping with their international stature. Further details and a budget will be provided on request.
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. (We are happy to announce that Furtados, Goa will come officially on board from the next course, scheduled for December 2010, onwards).
With generous support
• For the April 2010 course from the Inlaks Shivdasani Foundation
• For the July 2010 course from Navroze Godrej
In collaboration with Association Sargam, UK
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. It addresses a genuine interest in acquiring vocal guidance and technical support in India.
Giving Voice to India has, to date, offered four sessions, starting with an audition (Session 1), where students were selected, in August 2009, followed by three courses (Sessions 2, 3, & 4) in Mumbai and Goa in December 09/January 10, April 10 and July 10 respectively.
Each course consisted of a carefully constructed programme of vocal exercises, recording of student progress, language development and style and interpretation. The two fundamentals of the course remain
• Proper vocal technique
• Correct style
• Technique was addressed by individual vocal sessions of at least 30 minutes with Patricia every day. All sessions were recorded, giving each student a copy of their specific issues. This is the backbone of the vocal work in India.
• This was followed by the general style/interpretation class with Mark, singing prepared repertoire and receiving stylistic improvement. Correct style includes language, music history, specific styles of country and composer. The languages involved were Italian, German, French and English, taking a text, explaining the basics of pronunciation and how it is related to singing. At the start and end of each day, the students came together, singing through pieces that had been worked on.
Each course ended with an informal concert for the students and a few invited guests.
The courses are limited in number and it has been encouraging to note that almost all the students in Mumbai have not only been attending the entire five/ six days – a credit both to the course and the students with multiple occupations – but have been returning to each consecutive course. One of the essential elements underlying the teaching is continuity from one session to another, thus enabling Patricia and Mark to build on core principles already laid down. Where standards were mixed, something to be expected, the structure of their teaching work allowed them to cater to the differing levels effectively.
The style aspects covered in the different courses have been i) Oratorio (what it is, how it differs from opera and Art Song, the stylistic differences between Baroque and other forms of Oratorios), ii) Opera (delineation of dramatic elements of opera scenes), iii) Art Song (as small-scale opera, developing the students’ sensitivity to effective transmission of the poetic idea channelled through language and music). It is interesting to note here that some students have been following language classes in the intervening period between the courses. This
has resulted in a readiness to tackle unfamiliarity in languages and overall confidence in taking on repertoire in different languages.
The situation in Goa was more complex, owing to a spread of population over various villages and towns and generally interest in styles other than classical, such as jazz and pop. However all the singers attending the courses over one year have been vastly interested in developing their natural voices, whatever their musical background and interests. The issue of attracting more students from a classical background is being addressed at present.
It is heartening to note, in both Mumbai and Goa, the significant and rapid progress in the students after one year of teaching. This is due to a certain level of achievement already attained in India, a readiness to move forward quickly. Numerous suggestions for further repertory are left with the participants for learning prior to the next course, in the sure knowledge that they can cope. With the sound and clear technical instructions received, several of the students are now able to increase their range, to which 5, 6 or even 8 notes are added in some cases.
It was of considerable interest that one student in the Mumbai course is a singing teacher. This will be of significant help in the future as training competent teachers is one of the core aims of the project.
It is also encouraging to note that the courses have revealed potential, in some students, for possible long-term development. One of the Mumbai students has already gone to the USA to start a Masters at Mannes School of Music, and two more have attended the prestigious Salzburg Summer Course in Austria. They are both planning to audition this December in London for further specialist vocal studies. For a class of 14 students, this is a very creditable – and highly encouraging – result. It also emphasises the need for a number of new students to join the courses as, with time, one or two may leave to study abroad.
Given commitment, training and enough time, there is potential, in India, to develop voices of exceptional quality. The further Patricia and Mark are able to take their work, the more they will develop:
• A generation of Indian singers capable of maintaining international singing standards
• A core audience interested in western art music that will support those singers.
The one year of teaching has shown vast improvement, despite greatly different starting points. There have been no backward steps at all – each course has started at a level higher than the previous. This is particularly pleasing as doubts were raised as to whether intermittent teaching was effective. As so many of the students are returning regularly to the course, the project is now building up a nucleus of well-informed and educated singers. This will have far-reaching implications as the word spreads.
Funding remains a source of concern with much of the costs of two of the year’s four sessions being undertaken by Patricia and Mark in order to ensure the continuity of the project. We actively encourage organisations, individuals and patrons of the arts to support ‘Giving Voice to India’, so the high costs of travel and the time spent in the remarkable training offered by them are recompensed in keeping with their international stature. Further details and a budget will be provided on request.
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. (We are happy to announce that Furtados, Goa will come officially on board from the next course, scheduled for December 2010, onwards).
With generous support
• For the April 2010 course from the Inlaks Shivdasani Foundation
• For the July 2010 course from Navroze Godrej
In collaboration with Association Sargam, UK