The Summer Baroque Opera Workshop at Queens College’s Aaron Copland School of Music in Flushing, New York, offers musicians a rare opportunity to immerse themselves in baroque music.
Maltese soprano Madeleine Gruppetta attended this year’s workshop and here reflects on her experience.
‘Unforgettable’
She describes her participation in the workshop as an "enriching and unforgettable experience".
The programme featured daily masterclasses and coaching sessions that delved into the intricacies of baroque music. These were led by renowned artists such as soprano Julianne Baird, countertenor Drew Minter and stage director Guillaume Bernardi.
At the end of the workshop, the participants had to present excerpts from Dido and Aeneas by Purcell and La Didone by Cavalli.
Gruppetta says that the teamwork and collaboration with like-minded individuals “allowed participants to grow rapidly as performers” and she fondly recalls her role in the witches' duet from Dido and Aeneas, which she performed alongside fellow soprano Kaitlyn Townsend.
Learning from the masters
The singer says Baird’s masterclasses on baroque vocal techniques, especially in ornamentation and agility, opened new horizons for her.
“Julianne also shared insights on how Latin texts are sung differently across the world,” Gruppetta says, noting how inspiring it was to explore the global variations in interpretation.
Minter’s sessions on baroque gesture were another highlight. She explains that Minter taught her how to use body language to enhance the storytelling aspect of her performance, creating a blend of historical accuracy and dramatic effectiveness.
The practice room has become my ally, not an obligation
Bernardi, the stage director, further enhanced her understanding of baroque opera through collaborative stage movement sessions. Gruppetta says his guidance helped her develop a deeper appreciation for how movement and gesture can elevate the dramatic and visual impact of a performance.
Instrumentalists also played a central role in shaping the final production. Gruppetta spoke highly of Christa Patton, the baroque harpist and musical director, as well as Ben Katz, the harpsichordist, whose musicianship greatly enhanced the overall quality of the performance.
“Working with these instrumentalists was both a privilege and a learning experience,” Gruppetta says.
Overcoming challenges
With only a week to prepare for the final production, the participants faced significant challenges, from memorising staging to coordinating with fellow singers and instrumentalists.
“The short time frame was definitely a challenge,” Gruppetta admits, but adds that the positive and supportive atmosphere helped the group overcome the pressure.
“There were no negative vibes, just encouragement and mutual support.”
This non-judgmental environment allowed the soprano to take risks and try new approaches. The rapid pace of learning and the intensive collaboration with her peers was, in Gruppetta’s words, “transformative”.
The positive and supportive atmosphere helped the group overcome various challenges.Personal and professional growth
From a professional standpoint, the workshop provided invaluable insights into baroque vocal styles and performance practices. But it was more than just a technical experience for Gruppetta − it was also character-building.
The rigorous schedule helped her cultivate resilience and discipline, deepening her commitment to her craft.
“The practice room has become my ally, not an obligation,” she says.
Gruppetta acknowledges that the experience “has truly shaped me as a performer” and expresses her intention to incorporate the skills she gained into her future performances.
Gruppetta is a member of Opera Unleashed, a diverse collective of talented local singers. This ensemble delves into the world of classical opera, infusing both traditional and contemporary repertoires with fresh energy and artistic flair. Known for their unique and engaging performances, Opera Unleashed offers audiences a distinctive experience, breathing new life into the timeless art form.