Informe ICVT7 Julio 2009, París

8/9/2019 Informe ICVT7 Julio 2009, Pars

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AEPC Asociacin Espaola de Profesores de Canto / NIF. G-84235365 / Apdo. Correos 21133, 28080 Madrid

www.aepc.com.es / [email protected] / Telfono: +34 91 573 7382 Fax: +34 91 327 1719

CONGRESO INTERNACIONAL DE PROFESORES DE CANTOEUROVOX/ICVT7, Pars 2009

El canto pasado y presente: innovacin y tradicin

Vivimos un momento histrico en cuanto a la

facilidad de las comunicaciones. Internet ha cobrado unaimportancia sin igual en relacin al acercamiento entre losdistintos pueblos y culturas. Esta herramienta nos hafacilitado conocimiento de cada vez ms estilos de canto,ms mtodos de enseanza, influencia de algunas terapiasen la voz, descubrimientos mdicos que pueden ayudar ala enseanza del canto.

Sin embargo, en medio de tantas innovaciones,an en este nuevo siglo seguimos debatiendo sobre laconvivencia entre la tcnica de canto clsico y la de canto

moderno, sus diferencias, la utilidad de cada una.

Del 15 al 19 de julio de 2009 tuvo lugar el CongresoInternacional de Profesores de Canto en Pars al queEspaa acudi gracias a la beca del programa deaprendizaje permanente Leonardo da Vinci de la UninEuropea. El tema central del congreso fue el debate entrela enseanza del canto pasado y presente, entre latradicin y las innovaciones.

Fueron 5 das intensivos de ponencias, talleres, clases magistrales etc. Una experiencia inolvidable a

la vez que agotadora en un entorno como es el Follies Bergre de Pars, la famosa sala de variedades quetuvo su poca de esplendor a finales del siglo XIX y principios del XX.

En 1987 se celebr el primer congreso ICVT en Estrasburgo. El congreso se convoca cada 4 aos endiferentes partes del mundo. Esta ha sido la primera vez que Espaa ha asistido a un congreso ICVT.

El comit organizador

De arriba a abajo y de izquierda a derecha:

Marie Jos 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 FranoisLe Roux.


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EL PROGRAMA DE JVENES PROFESIONALES (YPP) EN ICVT7

La European Voice Teachers Association (EVTA) inaugur el Programa de Jvenes Profesionales

(YPP). En este programa se ofreca la oportunidad a 18 jvenes profesionales del mundo del canto a

participar como alumnos activos en el congreso de Pars. Cada pas integrante de EVTA poda enviar hasta 4

candidatos de los cuales, un comit compuesto por integrantes de EVTA y de ICVT seleccionara uno.

El trabajo desarrollado por estos jvenes como alumnos activos fue intensivo. Participaron en todaslas clases magistrales, en un concierto inaugural y colaboraron con los profesores en todas lasdemostraciones de repertorio que eran necesarias.

En este momento, la Asociacin Espaola de Profesores de Canto (AEPC) no se encontraba con lasuficiente infraestructura como para poder enviar esos 4 candidatos. Por eso entre los jvenes seleccionadosno se encontraba ningn cantante espaol. Sin embargo Espaa fue capaz de enviar a 4 profesoras y una

joven cantante. De entre las profesoras, una de ellas, Mara Beltrn, present una ponencia con el ttulo: La

resonancia Edith Piaf.

Los jvenes que participaron en el congreso y un resumen de sus biografas figuran a continuacin.Como se puede observar, el porcentaje est muy equilibrado entre representantes de msica lrica y demsica ligera. Sin embargo, como asociacin, lo que ms nos ha impresionado a AEPC es la enormepreparacin musical y teatral as como la experiencia de todos estos jvenes a pesar de su juventud puestoque ninguno supera los 30 aos. Esto nos hace reflexionar sobre la preparacin que se ofrece a nuestroscantantes noveles y, sobre todo, las oportunidades de cantar de manera seria. Todos estos jvenes cuentancon un repertorio bastante consolidado y una preparacin artstica muy completa y debemos hacer examende conciencia sobre las carencias pedaggicas de nuestro pas en materia de enseanza de canto.

Y para comenzar a solucionar la situacin, AEPC aprovech la oportunidad del congreso paramantener reuniones con representantes de asociaciones similares de varios pases concretndose una lneade actuacin consistente en llevar a cabo actividades encaminadas al conocimiento y profundizacin enrepertorios especficos de otros pases. Esta es slo la primera de nuestras lneas de actuacin que iremosponiendo en marcha poco a poco puesto que debemos recorrer un arduo y largo camino para equiparar lacalidad de enseanza del canto a la de otros pases europeos.

As la primera parte de esta serie de cooperaciones entre asociaciones se concret entre AEPC yAFPC que convinieron realizar una actividad conjunta sobre la Msica Vocal Francesa desde la mlodie hastalas ltimas tendencias musicales francesas, pasando por las canciones meldicas de los aos 40 a 90.

Tambin la Asociacin Sueca de Profesores de Tcnica Vocal ofreci su cooperacin, concretndoseen conferencias y talleres sobre diversas temticas entre las que destacan el conocimiento de la msicavocal sueca y su repertorio y talleres sobre la preparacin de personajes opersticos segn el Teatro de lapera de Estocolmo.

La informacin sobre los jvenes integrantes del Programa de Jvenes Cantantes (YPP) ha sidoextrada de la pgina oficial de EVTA y las biografas figuran en ingls. Sin embargo, se puede usar untraductor online para obtener una traduccin rpida y cmoda:

http://evta-online.org/ypp-en.htm
http://evta-online.org/ypp-en.htmhttp://evta-online.org/ypp-en.htmhttp://evta-online.org/ypp-en.htm


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Romana Beutel is currently studying voice at the Konservatorium WienPrivatuniversittwith Uta Schwabe. In 2007 she completed her bachelors degree with

honors. She has participated in master classes with Angelika Kirchschlager, BarbaraBonney, and Patricia Wise, and was awarded prizes at the Prima la musica (2004) andFidelio (2006) competitions. In Baden, she sang Serpetta in Mozarts Grtnerin aus Liebe

and Papagena in Die Zauberflte. She has also sung Polly in John Gays The Beggar`sOpera, Poppea in Hndels Agrippina, and the Bird in Judith Weirs Blond Eckbertat theWiener Kammeroper. She has sung major works such as Brahms Requiem in Vienna andperformed as far abroad as Venezuela.

Leonardo Cortellazzi (1980) graduated with honours in Marketing from the School ofEconomy at Parma University and subsequently with highest honours from the MusicConservatory Arrigo Boito in Parma. In June 2008 he also completed a program in operastudies at the Teatro della Scala in Milan. He is currently studying voice with MaestroLelio 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 Zauberflte. In 2006 hesang the role of Fracasso in a recording of Mozarts La Finta Semplice.

Guillaume Delpech discovered music by beginning violin lessons at the age of 7 atthe Conservatoire National de Rgion de Bordeaux. He moved on to viola, then studiedclassical guitar with Olivier Chassain. He sang as well with the childrens choir of theOpera de Bordeaux from 1994 to 1996. Parallel, he pursued literary studies inHypokhgne and Khgne, and graduated in 2004 from the Ecole Suprieure de Commercede Bordeaux. He began studying voice in 2003 with Jacques Schwarz, first in Bordeaux,then in Toulouse; he has also attended master classes with Jean-Franois Lombard,Gabriel Bacquier, Mireille Larroche, and Jean Paul Fauchcourt at the Conservatory of

Toulouse in association with CESMD. He participated in the prize-winning recording ofLamentatio by C. Festa for Arrion. He is currently continuing his studies in theDepartment of Ancient Music in Toulouse. He also teaches voice at the School of Music of Villeneuve-sur-Lot.

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 fr Musik und TheaterHannover, where he studied with Peter Anton Ling and Jacques Schwarz. Most recently, hesang the lead role in the universitys annual opera production: Mozarts Le Nozze di Figaro.In addition, he has taken master classes with Ingrid Kremling, Irwin Gage, and CharlesSpencer. His stage repertoire includes Renaissance music, roles such as Papageno,

Guglielmo, Figaro, and Bim in Heinz Holligers What Where. Concert performances havetaken 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. Hecurrently has guest contracts at the Nationaltheater Mannheim and the StaatsoperHannover.

Aili Ikonen studied folk and jazz music at the Sibelius Academy in Helsinki, where shecompleted her bachelors degree in 2008. Her most significant teachers have been Aija

Puurtinen, Maija Hapuoja, and Ritva Eerola. She has performed at several renowned jazzfestivals 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 contestin 2004. In addition to singing and composing with Kvalda, Aili is working with several
http://www.umo.fi/http://www.umo.fi/http://www.umo.fi/http://www.umo.fi/http://www.umo.fi/


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other bands such as Korpi Ensemble,Here, and Piiskaajat, which was the winner of the 2007 Finnish FolkMusic 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 AnneConstantin. She continued at the Opera Studio in Rome with Renata Scotto. Shecurrently works with Michele Command and Gabriel Bacquier. In addition, shehas been awarded many grants and prizes, has had auspicious performances inLondon (Vernon Ellis/English National Opera), at the theatre of Montluon, thePolish embassy in Paris and in the project Young Talents 08/09 led by AlainDuault. She has sung at the National Opera of Lorraine with Jose Cura, hasperformed Suzanne in Offenbachs ''Un mari la porte'' in several French

productions. Future plans include an appearance at the Montpellier Opera and the Imperial Theatre ofCompigne, Eurydice in Gluck's Orphe & Eurydice', Dorothee in Massenet's Cendrillon at the Massy Opera,and Taven in Gounods Mireille. Further pliades musicales festival, in Bastia and Mcon. Additional

repertoire includes Charlotte (Werther), Leonora (La Favorite) or Dido (Dido & Aeneas).

Anamarija Lazarevi (1988) began her musical training studying piano with Lenka Naberat the Music School Ljubljana Moste-Polje. She began singing lessons at age 14 with PijaBrodnik at the Music School Ljubljana Vi-Rudnik, where she is currently continuing herstudy of voice. Anamarija has performed at numerous school recitals, stage productions(operetta and opera ensembles), and charity concerts. She has been successful in manynational competitions and, most recently, was awarded second prize at the InternationalSinging Competition Ithaka in 2006. She occasionally performs with the Tine Roanc folk

group, with whom she sings a repertoire of national songs at concerts and festivals. She isalso 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 teacherwas its accompanist, Rosalie Evans. He graduated from Trinity College (Carmarthen) in2004 with a BA hons in Theatre, Cerdd, a'r Cyfryngau (Theatre, Music and Media). Whileat Trinity, Gareth trained under Marian Thomas and Janet Massochi. A fluent Welshspeaker (and singer!), he performed the lead roles in both the Welsh musical PumDiwrnod o Ryddid and the English language production of Gilbert and Sullivans ThePirates of Penzance. In 2004 he won the Ian Fleming Musical Theatre Award and went onto study musical theatre at The Royal Academy of Music, London. There he trained underGareth Roberts, Mary Hammond, Seaphen Hill, and Ann-Marie Speed, while alsoattending 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 thepresent he has been playing the role of Joly in the West End cast ofLes Miserables at the Queen's Theatre.

After graduating with a Baccalaureat Litteraire in 2004, Julia Orcet followed a two-yearcourse of study in Paris at the Ecole de la Manufacture de la Chanson. There, she studiedvocal and stage technique, learned script-writing, and had the opportunity to work withprofessors such as Anouck Manetti and Michel Troise. Her training culminated in aperformance of her own show at the Theatre Lavoir Moderne. The following year hersuccess in a vocal competition (Le Mans Cit Chanson) granted her the honor of performingat the Palais des Congres du Mans. She has also appeared in artists first productions suchas Laurent Malot and Eric Guilleton, performing at the Forum Lo Frr, at the Theatre of

Mnilmontant, and the Theatre dEtampes. She loves solo singing, but is also quiteinterested in choral music.


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Cyrielle Sauvage (1988) became involved in the world of music at a very young age. Shebegan her vocal studies at the age of 15 at the Conservatoire de Montereau fault Yonnewith Armelle Cabral with classical then popular music repertoire. She was successful inmany competitions 2001 2006, resulting in television appearances as well as studiorecordings. 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 andNathalie Dupuy, theatre with Guy Shelley and Stanislas Grassian, and classical dance, jazzand hip hop with Batrice Marois, Christelle Chinonis, Millard Hurley and Jean-PierreChandler. 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 asmaller role in Hair. Today, Cyrielle works for two artist composers in a hip-hop reggae style as a singer andchorister giving opportunites to perform in great halls such as the Gibus or the New Morning. Cyrille isworking on her first album with her group, Welcome. She most recently won second place at the Crescendocompetition in Paris as an author, composer and interpreter.

Marysol Schalit (1982) began studying singing at the Universitt der Knste Bern/Biel,

where she completed her concert diploma with distinction in 2007. She is currently amember 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 classeswith Krisztina Lki, Jadwiga Rapp, Cornelia Kallisch, Yvonne Naef, and Grard 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 Glucks Orpheus and

Eurydice with the baroque orchestra Cantus Firmus. Recent roles include Despina inMozarts Cosi fan tutte at the Biennale Bern and Theatre Biel/Solothurn and Flora inBenjamin Brittens The Turn Of Screw. This season she will appear as Guadalena and Manuelita inOffenbachs La Prichole. She has won awards from numerous organizations and competitions, including theFriedel WaldStiftung (2006), the Kiefer Hablitzel, the Hedwig Collard-Scherer Stiftung (2008), and the

International Simandy Josef Competition in Hungary (2008).

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 andDaphn Mosimann. She then studied classical singing (since 2006) with Liliane Zrcher atthe Hochschule Luzern/Musik, while also attending master classes with Margreet Honigand Klaus Mertens. She has most recently been singing with ensembles and choirs at theKKL Lucerne, the Stadttheater Bern, and the Sala Nervi in Rome. Apart from singing, sheenjoys Latin and Middle Eastern dance.

Erika Tordus 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 Americancontemporary music ensemble ALEA III, the Cyprus State Orchestra, the AthensChamber Orchestra, the Hamptons Festival Orchestra, and the Mellersta UpplandsChamber Orchestra. She has worked with a variety of noted conductors, includingLukas Foss and Simon Carrington. Erika did her undergraduate studies at the NewEngland Conservatory of Music in Boston (USA), her elementary opera studies atthe Stockholm Opera Studio 67, and she is currently studying toward a masters

degree in opera at Gothenburg University in Sweden. Erikas main voice teachers to

date have been Susan Clickner, Iwa Srenson, and Birgit Louise Frandsen Irestad.


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Matti Turunen is studying sacred music at the Sibelius Academy in Helsinki with PekkaKhknen, voice, and Ville Urponen, organ. He previsiously studied music at theConservatory of Joensuu with Rauno Keltanen, voice, and Janne Mertanen, piano. He hastaken additional master classes in singing with Jorma Hynninen and Erkki Rajamki, aswell as Tom Krause, Matti Salminen, and Hannu Niemel. This past season, 2008-09, he

was a trainee at the Finnish National Opera, debuting as the Einarmige in Strausss DieFrau Ohne Schatten. Additional roles to date are Tevye in Fiddler on the Roof, Menelaosin Women of Troy, and the Eremit in Der Freischtz. He has also composed two servicesfor the Evangelical Lutheran Church, called Service of Young Fate and Service of Peace. Hehas broad tastes in music as well as food!

Maartje Waanders (1981) began music studies at the age of 9 with classical pianolessons. She then studied music education and pop and jazz singing at the ArtEZConservatory in Arnhem, where she completed her Bachelor degrees in 2003 and2007 respectively. In June 2009 she will receive her Masters degree at the MessiaenAcademie. Her most significant teachers were Jolande Geven, Marille Vester,

Mathilde Santing and Ineke van Doorn. She has taken master classes with Alberto terDoest, Tom Salisbury, Jeroen Willems and Hans Dulfer. Currently, Maartje performswith several pop- and jazz bands and theatre groups. She is often asked as a soloistfor 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, andperforms frequently with her personal pianist.

After completing a BA in Linguistics and German, Derek Welton went on to receive amasters 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 rolesinclude Silvano in Cavallis La Calisto, Vertigo in Glucks La rencontre imprvue,

Podkolyosin in Martinus The Marriage, Falstaff in Salieris Falstaff, the Count in MozartsNozze di Figaro, Masetto in Don Giovanni, Guglielmo in Cosi Fan Tutte, Papageno in Die

Zauberflte. His concert appearances include performances at venues such as theBarbican and the Royal Albert Hall, where he has performed a wide range of choral andsong repertoire. He has won three competitions to date: the 2007 Handel SingingCompetition (UK), 2005 Geelong Aria, and 2004Australian Youth Aria.

Barbara Zamek-Gliszczyoska (1985) was a member of the Alla Placca Childrens Chiraffiliated with theNational Theatre in Warsaw. She continued her musical education in the Fryderyk Chopin Music High Schoolin Warsaw where her teacher Hanna Rejmer prepared her for study at the Fryderyk ChopinMusic Universityin Warsaw. She is now completing her second year as a student of Boena

Betley. Barbara has won several competitions: 1. Mieczysaw Karwicz Natinal VcalCompetition in Krakw, 3. Krystyna Jamroz National Vocal Competition in Wrocaw, andthe 8. Stanisaw Mniuszk Internatinal Cmpetitin Pieo Wieczrna(Night Song).


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El mircoles 15 de julio a las 9 de la maana dio comienzo el Congreso. Pero hasta las 13 horas no secelebr la ceremonia de apertura.

Follies Bergre, fachada

Follies Bergre, Foyer


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Follies Bergre, vista de escalera


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Los representantes espaoles 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 da

era la votacin para la reforma de los estatutos de EVTA.

Reunin EVTA, al fondo a la derecha junta de AEPC

Junta directiva de EVTA


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Junta directiva de EVTA

Marvin Keenze, Coordinador Internacional de NATS y presidente de ICVT

La cantidad de reuniones seguidas con distinta temtica origin esta imagen tan curiosa. La junta y el resto

de representantes de asociaciones, almorzando en el lugar de reuniones. Los representantes espaoles a esa

hora slo salimos a tomar caf.


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A las 15 horas comenz la ceremonia de apertura. A continuacin, distintos momentos de la

ceremonia, panormica del Follies y discursos inaugurales. Por parte de AEPC acudieron a ICVT7: Marianne

Ax, presidente, Elena Montaa, vicepresidente, Pilar Lirio, secretaria, Mara Beltrn, socio, Miriam Garca,

alumna.

Discurso de Norma Enns, presidenta de EVTA y los jvenes seleccionados para participar en el congreso a

travs del YPP (Young Professionals Programme)


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Marvin Keenze y Claudia Phillips

Escenificacin a md de cheerleaders de las letras del anagrama ICVT


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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 disposicin de todo aquel que desee leerlos. Para acceder a lasponencias es necesario entrar en la web y pinchar en el ttulo de cada ponencia.

PONENCIAS Y TALLERESMIRCOLES 15

Dr. Susana Zapke - The Archeology of Singing

Richard Cross - Three solutions to singing high notes

Agnes Mellon -Baroque Singing

Paolo Zedda/Marybel Dessagnes -Hommage a Nicola Vaccai
http://www.nats.org/images/stories/Texte_confrence._TRADUIREdoc.pdfhttp://www.nats.org/images/stories/Texte_confrence._TRADUIREdoc.pdfhttp://www.nats.org/images/stories/Texte_confrence._TRADUIREdoc.pdfhttp://www.nats.org/images/stories/res_bil_vocales_2000_icvt7.pdfhttp://www.nats.org/images/stories/res_bil_vocales_2000_icvt7.pdfhttp://www.nats.org/images/stories/res_bil_vocales_2000_icvt7.pdfhttp://www.nats.org/images/stories/res_bil_vocales_2000_icvt7.pdfhttp://www.nats.org/images/stories/Texte_confrence._TRADUIREdoc.pdf


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Concierto de apertura: Tradicin e innovacin en el canto. Concierto de los estudiantes europeos


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JUEVES 16

Melanie Jackson - Singing and Qi Gong


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Dr. Nathalie Henrich - Between Vibrations and Resonances

Franois Le Roux Master Class: Rare French Melodies


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Barre Phillips: The art of improvisation

Lukas Haselboeck -French and Austrian Vocal Music 1890-1914

Marianne Liljas -David Bjoerling

Jeannie Darnell -Boys to Men
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Dr. Duane Karna - Choral Acoustics


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VIERNES 17

Francoise Semellaz -Survival Kit for the Travelling Singer

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

Sarah Sanders Popular Music Master Class
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Janice Chapman - Breathing and Support: The Use of the Accent Method

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
http://www.nats.org/images/stories/ICVT7_La_chanson_franaise.pdfhttp://www.nats.org/images/stories/ICVT7_La_chanson_franaise.pdfhttp://www.nats.org/images/stories/ICVT7_La_chanson_franaise.pdfhttp://www.nats.org/images/stories/Paper_for_post_Paris_conference_2009.dochttp://www.nats.org/images/stories/Paper_for_post_Paris_conference_2009.dochttp://www.nats.org/images/stories/Paper_for_post_Paris_conference_2009.dochttp://www.nats.org/images/stories/MAKING_A_CAREER_IN_OPERA_engl.dochttp://www.nats.org/images/stories/MAKING_A_CAREER_IN_OPERA_engl.dochttp://www.nats.org/images/stories/MAKING_A_CAREER_IN_OPERA_engl.dochttp://www.nats.org/images/stories/MAKING_A_CAREER_IN_OPERA_engl.dochttp://www.nats.org/images/stories/Paper_for_post_Paris_conference_2009.dochttp://www.nats.org/images/stories/ICVT7_La_chanson_franaise.pdf


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SBADO 18

Nadia Vadori - Being Present in the Here and Now

Dr. Gerard Chevallier - The Saturated Voice of Rock Singers


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Jeniffer Smith Master Class: French Opera


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Anna Gotti -How to Sing Standards with a Jazz Feel
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Suzanne Draayer -Lets Sing Spanish Art Song!
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Cecilia Montemayor - Art Song of Mexico

Dr. Mei Zhong - Chinese Art Song

Maria Beltran - Piaf Resonance


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DOMINGO 19

Donald Dumpson - Gospel for Everyone


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

Jean Nirouet -Early French Diction as Established at the Beginning of the Recording Process

Valrie Phillipin Contemporary Music

Martha Herr -20th Century Brazilian Song

Tran Quang Hai -Voices of the World
http://www.nats.org/images/stories/ICVT_version_2b_anglais.dochttp://www.nats.org/images/stories/ICVT_version_2b_anglais.dochttp://www.nats.org/images/stories/ICVT_version_2b_anglais.dochttp://www.nats.org/images/stories/Trabalho_completo.Paris.dochttp://www.nats.org/images/stories/Trabalho_completo.Paris.dochttp://www.nats.org/images/stories/Trabalho_completo.Paris.dochttp://www.nats.org/images/stories/VOICES_OF_THE_WORLD.rtfhttp://www.nats.org/images/stories/VOICES_OF_THE_WORLD.rtfhttp://www.nats.org/images/stories/VOICES_OF_THE_WORLD.rtfhttp://www.nats.org/images/stories/VOICES_OF_THE_WORLD.rtfhttp://www.nats.org/images/stories/Trabalho_completo.Paris.dochttp://www.nats.org/images/stories/ICVT_version_2b_anglais.doc


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Ceremonia de clausura: Discursos de despedida

La delegacin australiana toma la palabra para presentar el proyecto de ICVT8 que tendr lugar enese pas en 2013.


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Finalmente los alumnos del Programa de Jvenes Profesionales cantan a coro e imitan la coreografacheerleader de la ceremonia de apertura.


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POSTER SESSIONS

Las poster sessions o sesiones de cartels, completaron el congreso de Pars. Una poster sessionconsiste en la presentacin de informacin en un congreso o en una conferencia con un enfoque acadmico

o profesional. Normalmente se suele separar una estancia o un piso en una feria o conferencia para la sesinde carteles donde los investigadores ilustran con un cartel sus mtodos de investigacin y sus resultados. Elinvestigador responde en el acto a las preguntas de sus colegas.

JUEVES 16Teja Saksida - Vinko GlobokarLisa Popiel -Ingredients of American Vocal Stylesandhandout
http://www.nats.org/images/stories/Lisa_Popeil_Layout_1.pdfhttp://www.nats.org/images/stories/Lisa_Popeil_Layout_1.pdfhttp://www.nats.org/images/stories/Lisa_Popeil_Layout_1.pdfhttp://www.nats.org/images/stories/ICVT_Paris_2009_handout.pdfhttp://www.nats.org/images/stories/ICVT_Paris_2009_handout.pdfhttp://www.nats.org/images/stories/ICVT_Paris_2009_handout.pdfhttp://www.nats.org/images/stories/ICVT_Paris_2009_handout.pdfhttp://www.nats.org/images/stories/Lisa_Popeil_Layout_1.pdf


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Jane Kristen Hagness - 20th and 21st Century Works for Soprano and MarimbaTammie Huntington -Jody Nagel's Opera Fifty-Third StreetPatrice Michaels - Divas of Mozart's DayJudy Bellingham - Songs of Love and the LandKevin Hanrahan -Effect of Auditory Feedback in Singing

Heather Hunnicut -Stage Fright and SingersandhandoutBerislov Jerkovic - Human Voice and Psycho-physical TrainingOlugbemi Matthew Adesanjo - Preparation for Performance Psychophysiospiritual AnalysisWladimir Mattos - Brazilian Portugese- Norms for Lyric DictionMinoru Yamada - The Essential Practice for ConsonantMorten Sadolin - Power and Safety in Voice Production - Acoustic Control

VIERNES 17Scott Harrison -Sing For LifeSally Collyer -Bringing Breathing Science into the Voice Studioandhandout

Sally Collyer/diana Kenny/Michaele Archer -Does How You Breath Really Change How You SoundMarie-Therese Boiton-Rivoli - The Freedom of VoiceMartha Sheil - The Legacy Lives OnKevin Hanrahan -The Global MasterclassKathy Woodley - Vocal MentoringDaniel Robinson -Singing for Contemporary Christian WorshipandhandoutFlora Edwards - Must the Singing Voice in Age Be SilentDiane Hughes - The Vocal JournalKristine Hurst-Wajszczuk - Do They Really Get It? Using Kolb LSISusan Yarnall/Susan Monks -The Role of Vocal Identity

SBADO 18Tracy Bourne/Maeva Garnier -Laryngeal Mechanism and Vocal Tract Resonance in Music Theatre VoiceandabstractFranciose Vanhecke-Cathy Aggett - Strategies for Baritones in Singing Australian Art Song andhandoutJana Holtzmeier -Grit and Grazioso: the Songs of Vincent PersichettiandhandoutKristine Hurst-Wajszczuk - Causes and Treatments of Perfomrance Anxiety in SingersKevin Hanrahan -Second Formant Relationship to AdductionKatherine Wells - Three Levels of SongPatircia Caicedo -Discovering Latin-American Soul Through Song and PoetryMihaela Buhaiciuc - Elements of Style in enescu's Sept chansons de Clement MarotTeresa Radomski - Recovering the Salon Operas of Manuel del Populo Vincente GarciaJessica McCormack - The Influence of National Styles on Pauline ViardotAnne Harley - Russian Female Aristocratic ComposersCatalina Ionela Chelaru - Le Complexe d'inferiorite dans l'art

Informe elaborado por Pilar Lirio (Secretaria y Coordinadora Internacional AEPC)
http://www.nats.org/images/stories/Premiere_Performance_of_Fifty-Third_Street_The_Opera.dochttp://www.nats.org/images/stories/Premiere_Performance_of_Fifty-Third_Street_The_Opera.dochttp://www.nats.org/images/stories/Premiere_Performance_of_Fifty-Third_Street_The_Opera.dochttp://www.nats.org/images/stories/Premiere_Performance_of_Fifty-Third_Street_The_Opera.dochttp://www.research.kevinghanrahan.com/http://www.research.kevinghanrahan.com/http://www.research.kevinghanrahan.com/http://www.nats.org/images/stories/hunnicut_postersmall.pdfhttp://www.nats.org/images/stories/hunnicut_postersmall.pdfhttp://www.nats.org/images/stories/hunnicut_postersmall.pdfhttp://www.nats.org/images/stories/Handouts_for_ICVT_Paris_Presentation.dochttp://www.nats.org/images/stories/Handouts_for_ICVT_Paris_Presentation.dochttp://www.nats.org/images/stories/Handouts_for_ICVT_Paris_Presentation.dochttp://www.nats.org/images/stories/ICVT_Poster21.pdfhttp://www.nats.org/images/stories/ICVT_Poster21.pdfhttp://www.nats.org/images/stories/ICVT_Poster21.pdfhttp://www.nats.org/images/stories/ICVT7_09_Collyer_Breathing_science.pdfhttp://www.nats.org/images/stories/ICVT7_09_Collyer_Breathing_science.pdfhttp://www.nats.org/images/stories/ICVT7_09_Collyer_Breathing_science.pdfhttp://www.nats.org/images/stories/ICVT7_09_Collyer_Breathing_science_handout.pdfhttp://www.nats.org/images/stories/ICVT7_09_Collyer_Breathing_science_handout.pdfhttp://www.nats.org/images/stories/ICVT7_09_Collyer_Breathing_science_handout.pdfhttp://www.nats.org/images/stories/ICVT7_09_Collyer_Does_how_you_breathe.pdfhttp://www.nats.org/images/stories/ICVT7_09_Collyer_Does_how_you_breathe.pdfhttp://www.nats.org/images/stories/ICVT7_09_Collyer_Does_how_you_breathe.pdfhttp://www.research.kevinghanrahan.com/http://www.research.kevinghanrahan.com/http://www.research.kevinghanrahan.com/http://www.nats.org/images/stories/Poster_Handout.pdfhttp://www.nats.org/images/stories/Poster_Handout.pdfhttp://www.nats.org/images/stories/Poster_Handout.pdfhttp://www.nats.org/images/stories/Robinson_ICVT_abstract.dochttp://www.nats.org/images/stories/Robinson_ICVT_abstract.dochttp://www.nats.org/images/stories/Robinson_ICVT_abstract.dochttp://www.nats.org/images/stories/Abstractfor_ICVT09Poster_Monks.dochttp://www.nats.org/images/stories/Abstractfor_ICVT09Poster_Monks.dochttp://www.nats.org/images/stories/Abstractfor_ICVT09Poster_Monks.dochttp://www.nats.org/images/stories/ICVT2009_final2.pdfhttp://www.nats.org/images/stories/ICVT2009_final2.pdfhttp://www.nats.org/images/stories/ICVT2009_final2.pdfhttp://www.nats.org/images/stories/ICVT_Abstract-8July09.dochttp://www.nats.org/images/stories/ICVT_Abstract-8July09.dochttp://www.nats.org/images/stories/Poster-FrancoiseVH.jpghttp://www.nats.org/images/stories/Poster-FrancoiseVH.jpghttp://www.nats.org/images/stories/Strategies_for_baritones_to_sing_Australian_art_songs_past_-_ICVT_Handout.dochttp://www.nats.org/images/stories/Strategies_for_baritones_to_sing_Australian_art_songs_past_-_ICVT_Handout.dochttp://www.nats.org/images/stories/Strategies_for_baritones_to_sing_Australian_art_songs_past_-_ICVT_Handout.dochttp://www.nats.org/images/stories/persichetti_5small.pdfhttp://www.nats.org/images/stories/persichetti_5small.pdfhttp://www.nats.org/images/stories/persichetti_5small.pdfhttp://www.nats.org/images/stories/holzmeier_icvt_handout.pdfhttp://www.nats.org/images/stories/holzmeier_icvt_handout.pdfhttp://www.nats.org/images/stories/holzmeier_icvt_handout.pdfhttp://www.research.kevinghanrahan.com/http://www.research.kevinghanrahan.com/http://www.research.kevinghanrahan.com/http://www.nats.org/images/stories/Patricia_Caicedo_POSTER_ABASTRACT_ICTV_PARIS.dochttp://www.nats.org/images/stories/Patricia_Caicedo_POSTER_ABASTRACT_ICTV_PARIS.dochttp://www.nats.org/images/stories/Patricia_Caicedo_POSTER_ABASTRACT_ICTV_PARIS.dochttp://www.nats.org/images/stories/Patricia_Caicedo_POSTER_ABASTRACT_ICTV_PARIS.dochttp://www.research.kevinghanrahan.com/http://www.nats.org/images/stories/holzmeier_icvt_handout.pdfhttp://www.nats.org/images/stories/persichetti_5small.pdfhttp://www.nats.org/images/stories/Strategies_for_baritones_to_sing_Australian_art_songs_past_-_ICVT_Handout.dochttp://www.nats.org/images/stories/Poster-FrancoiseVH.jpghttp://www.nats.org/images/stories/ICVT_Abstract-8July09.dochttp://www.nats.org/images/stories/ICVT2009_final2.pdfhttp://www.nats.org/images/stories/Abstractfor_ICVT09Poster_Monks.dochttp://www.nats.org/images/stories/Robinson_ICVT_abstract.dochttp://www.nats.org/images/stories/Poster_Handout.pdfhttp://www.research.kevinghanrahan.com/http://www.nats.org/images/stories/ICVT7_09_Collyer_Does_how_you_breathe.pdfhttp://www.nats.org/images/stories/ICVT7_09_Collyer_Breathing_science_handout.pdfhttp://www.nats.org/images/stories/ICVT7_09_Collyer_Breathing_science.pdfhttp://www.nats.org/images/stories/ICVT_Poster21.pdfhttp://www.nats.org/images/stories/Handouts_for_ICVT_Paris_Presentation.dochttp://www.nats.org/images/stories/hunnicut_postersmall.pdfhttp://www.research.kevinghanrahan.com/http://www.nats.org/images/stories/Premiere_Performance_of_Fifty-Third_Street_The_Opera.doc

Documents

Informe ICVT7 Julio 2009, París