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Dear Claudio,
I would like to
extend my thanks to you and Maestro
Vignati for inviting me to participate
in the International lyric academy 2006
Program. I learned a great deal from
my time spent in Rome and am thankful
for the many performance opportunities
that you gave me.
The program was
inspiring, and I especially enjoyed
attending so many concerts and operas
during my four weeks there.
Performing the
role of Pamina was a good learning experience.
Maestro Perez Gomez, Maestro Leon and
Maestro Kelly
were all very supportive and helped
me to create the strongest character,
both musically and dramatically, that
I could. Likewise, Gordon Ostrowski's
suggestions on character analysis and
his masterclass on 18th century movement
provided helpful tools that I will continue
to use. I also learned a few new tricks
through my lessons with Cecilia Valdenassi
and Maestro de Rosa, particularly with
regards to the Italian style and diction.
And the orchestra for Die Zauberflote
was wonderful! It felt very special
to collaborate with such artistic and
sensitive players.
On a final note,
I would also like to say how much I
appreciated Veronica's kindness. She
was always friendly and patient whenever
I asked her questions (which was often),
and seeing her smiling face as I walked
into rehearsal each day was uplifting.
She is a gem!
Thank you again
and best of luck in preparing for next
summer!
Baci,
Rebecca
Sojwall
____________________________
My name is Daniel Seabolt. I spent the last
summer participating in the International Lyric Academy of Rome (ILAR). This
was my first opera and my first major singing event. I was able to work with
many faculty members and participate in four master classes. As a seventeen
year old I was amazed by the talent that both maestros and students possessed.
It was an experience that I am hoping to relive in the summer of 2007. Thank
you to Claudio for allowing me to join such a wonderful program for singers!
Daniel
Seabolt
____________________________
To the entire ILAR staff:
Allora…first and foremost, I must state how
much this program has changed me as a person, a musician, and a performer. A big “Grazie!” to everyone who was a part of
such a remarkable month! ILAR went above
and beyond anything I had originally expected and my time there along with the
lessons, rehearsals, coachings and master classes will all be treasured
forever. I look at my pictures weekly
and reflect on the memories you helped to create. Maestro Vignati, Maestro Perez Gomez,
Claudio, and Tim…thank you for your eagerness to help and be connected
musically and personally with each performer.
I cannot reiterate how influential everyone has been! All of you definitely hold a special place in
my heart and I will never forget my summer in Rome
Thank you, again!
Musically and affectionately,
Clarissa Lecce
____________________________
We are Kelly and
Diana Combs,
parents of Sarah Elizabeth Combs, a
participant in last summer's International Lyric Academy and the New
Operafestival di Roma. Our daughter, Sarah, was one of the younger performers
in the group of extremely talented professionals and students, and we
naturally had concerns for her experience.
In fact, Sarah
had a tremendous experience,
training with some of the finest vocal coaches and musicians
anywhere. The unique learning environment - in a part of Rome near the Coliseum
- was not only safe, but especially conducive to developing skills in opera. The
faculty and participants all encouraged each other and looked after
one-another. We are certain that lifelong friendships were made that summer.
As parents, and visitors during
performances, we were warmly received. We had a delightful stay at the
Marianum, and the ILAR staff was especially kind and respectful toward us. We
were able to meet and interact with most of the performers and ILAR faculty. Everyone
we encountered seemed to love what they were doing. Both the student performers
and the members of the faculty were serious about their art and their
investment in this training, yet they remained real, caring people. It was
truly a pleasure to get to know them all, and to know that Sarah had the chance
to be involved with such a fine group of high quality individuals.
Sarah learned
many things last summer. Obviously, she learned a tremendous amount musically
from the coaching of a very talented staff. Sarah also, through the training
regimen, learned a lot about preparedness and accountability to the group. She
performed a difficult role in The Magic
Flute, which has given her an incredible boost. (both in her own
confidence and, practically speaking, for her resume!) She gained a measure of
independence as well, surviving on her own a long way from home, which will
serve her well in the future. Finally, we believe Sarah was blessed with an
opportunity to taste a bit of what a future in opera - maybe her own future -
might one day look like. Thank you to Claudio and Stefano and all the staff at
ILAR for making Sarah's, and our, experience in Rome one we will never forget.
Kelly
and Diana Combs
____________________________
Dear Maestro Stefano, Dear Claudio,
I must say it was a very hot summer in Roma 2003! I
actually think it was the hottest summer I have ever experienced in Europe
Despite the heat, I am a big fan of Italy…
always have been. Now I complain about the cold weather here in New
York City and
I miss this summer already.
I was very excited to be working with the New Opera
Festival di Roma (ILAR Program) as Pamina
in Il Flauto Magico. Not only did I
have the chance to live in one of my favorite countries, but for me it was a
chance to really see what ‘I was made of’. I really did not know what was
required of a singer until I came to
your program. Of course I knew about discipline and practice, but I am talking
about endurance. What a great learning experience for me to work all day everyday
as a singer and to condition my voice and body professionally. I learned quite
a lot about me and what was needed as far as pacing my body during rehearsals
and performances.
I also feel fortunate to have worked with both you Maestro Stefano and Maestro Waldman
as conductors. I felt everyone was very supportive from the members of the
faculty, the orchestra and yes, even the audience! Thank you Claudio and
Stefano for always being so positive and full of energy even when it was ‘hot
as hell’ and very busy at times. In the end, I felt the environment as a whole
portrayed ‘opera in the real world’, and that is an important tool that I took
with me. I wish your program many more years of success and I also hope to be a
part it again.
Sincerely,
Nita Baxani
____________________________
Dearest ILAR Faculty!
I would like to take this opportunity to
offer my sincerest thanks for a splendid summer in Rome.
I can’t possibly begin to express how ILAR
has chaned my life! First of all, just the opportunity to sing Violetta and
First Lady (my first complete and staged roles performed!) under such excellent
instruction and direction, and in a challenging, professional atmosphere, was
worth the trip. Also, Rome is so
beautful (even in that tremendous heatwave!), and it was of inestimable value
to me to experience the modern, and ancient Roman culture. And, my Italian
language skills were challenged and improved immensely.
In particular, singing Violetta in front
of Italians who really KNOW every note, every word of this repertoire, was
scary, but ultimately deeply rewarding, because under the baton of Maestro
Vignati, and the tutelage of Maestro Rufini and Maestra
Waldman, I managed to be well-prepared and confident, and I pulled it off!
Staging Magic Flute outside in a heatwave
in a basilca courtyard was certainly a challenge, especialy for me, never
having sung a staged role before. We all encountered many challenges together
(for example, a tenor, whos name I refrain from mentioning, accidently shot me
in the nose with Tamino’s stage bow and arrow. Bullseye! It was terribly
shocking, and terribly funny!). But ever diffculty was surmounted
professionally, with the end result being a more professional and exceptional
production. Thanks again for your patience with my inexperience. You helped me
grow and learn by leaps and bounds.
The concerts that we did were just lovely,
in the evening light, in the charming basilica, with that beautiful piano! And
I had the experience of trying out some new and difficult repertoire in front
of a knowledgeable, grateful and supportive audience of friends and Romans.
As some of you know, I decided to say in Rome,
continue my studies with Maestro Cesare Rufini, and to try to make a go of it
here in Europe. From word one,
every faculty member bent over backwards to assist me in this endeavor, and I
will forever be indebted to you all. Almost immediatley, I was presented
with numerous housing and job opportunities. And you contnue you to help me,
even now, by staying in touch, advising me, offering me audition opprtunities
(more than I can even keep up with!), and by just beng fabulous friends.
In particular, I would like to thank
Maestro Vignati for your truly inspirational direction and musical
advice. I hope with all of my heart that we will continue to work together.
My dearest Maestro Rufini, you have taken
my voice to levels I never even imagined possible. And your continuous efforts
to present me to agents and directors is deeply appreciated. If I can’t
do it with you, it simply can’t be done. Basta!
And Mara Waldman: what a splendid musican and
lady! A pianist, a singer, a tremendous pedagogue, and also a rofessional
conductor: she’s got it all. My coachings with Mara were of the highest level
and I look forward to working with her again this December in NYC, and
hopefully next summer at ILAR.
The masterclasses presented by Michael
Paul, Janet Perry and Alexander Malta were all a once in a lifetime
opportunity, and I thank them as well for their helpful and valuable teaching
and advice.
Tamara, from Manhattan
School, and
my neighbor at the Marianum: thank you for your friendship, your wildly
entertaining conversation, and all of your vocal\musical\diction
direction. You ROCK.
Tim Leon, who stage directed, taught, and
did a thousand other things (not to mention being my frst Alfredo!), is such a
special, generous and talented person. Thank you, Tim!!
And then there’s Claudio, who is always
everywhere at once, making everyone happy, and making it all happen. You are
fabulous, my friend. You and your advice, your connections, your limitless
energy and dedication, your sunny smile, are pricelss.
Thanks also to Fabio and Tim, two fabulous
pianist who were always ready to grab a practice room and run through any
repertoire that I threw at them!
Also, the patient and accomodating staff
of the Marianum are much appreciaed by me. I lost my key almost every other
day, and they just smiled and put up with me. Bess them!
As I look back on this summer that has
changed my life forever, and as I look forward to all these audition and
singing opportunities that are coming up in Rome, elsewhere in Italy, in
Germany, Switzerland, and in Austria, my heart is full of joy and hope, and of
gratitude for ILAR, because none of this would have happened, had I not spent
my rent money (!!) to come to NYC last January to audition for
ILAR! My landlord isn't happy, but I certainly am!!
Vi voglio un grand bene!
Sincerely,
Tiffany Herring
____________________________
"I worked as a vocal/opera role coach
in summer 2003 at ILAR. I found the program to be of exceptional quality,
providing singers with numerous oppportunities to perform both in opera
performance and in concert (art songs and opera arias). The program
was action-packed and highly structured, but not negatively so. In
addition to the numerous scheduled rehearsals, singers were provided with voice
lessons, coachings, master classes and language/diction classes on a regular
basis. There were four operas performed in total; two with orchestra and
two with piano. In all, the singers performed competently and in some
cases, gave absolutely stellar performances. The program was
well-publicized to the Roman community, and audiences were packed in for every
performance evening.
But more than the above, what I observed in the
program as a faculty member was the sense of ease and fun with
which singers approached the whole experience, while also working hard to
improve professionally. The singers ranged in age from the very young
(14) to older singers in their late 30s. However, I hardly noticed this
age gap. Everyone for the most part worked so well together, and also had
much fun together in various social environments; this also came through
in performances. I saw many at the student level make significant
progress from the first to the last week of the program. Those who were
more at professional performance level also experienced significant
breakthroughs and/or improved their professional standing. Some singers
also were signed by Italian opera house agents after their performances.
Finally, I would like to say that the directors of
this program, Claudio Ferri and Stefano Vignati and all the Staff are very kind
people--- competent and supportive of both singers and faculty. They
worked very hard to ensure that everyone was satisfied and getting what they
were promised from the summer experience. They held regular
meetings to get feedback from singers. In addition, I found other
faculty members to be of very high quality; professionals who were
knowledgeable and genuinely interested in singers and their professional
development.
I would recommend highly the ILAR program to any
American singer who is looking to attend a summer program abroad that provides
personal attention, professional quality-experience in a fun and relaxing --not
to mention beautiful -- milieu.
Tamara Cashour (Faculty of Manhattan
School of
Music)
____________________________
Dear M° Stefano Vignati e Claudio Ferri,
In the last two days, the temperature here in New York has suddenly
dropped. All of a sudden it's autumn, but I am still feeling those hot
July days in Italy. I wanted to write you both a note to tell you how
much the experience is still with me. ILAR 2003 was my first summer
training experience, and the First Spirit in the Magic Flute was my first role
onstage in opera performance. In comparing experiences with my friends
who all went to different programs this past summer, I feel deeply grateful to
the both of you for providing a positive, intense environment that allowed me
to grow and learn. The opportunity to work with an orchestra, under a
conductor's baton, with beautiful costumes, onstage, was invaluable to me, as a
young student.
Thank you for working tirelessly to provide all of this. I have wonderful
memories of the beautiful nights when music
floated up out of the darkened courtyard of the Basilica di San Clemente, for
everyone to hear -- whether they were seated in the audience, stopping at the
door, or passing by outside.
Much love,
Emilie
D'Andrilli
____________________________
Dear Mo.
Stefano Vignati e Claudio Ferri,
Not a day goes by where something I see, smell or hear
reminds me of the summer I have spent at the ILAR Program New Opera Festival di Roma. The
experience was unparalleled to anything I had ever embarked on before,
and I find myself telling everyone I meet about you and this hidden jewel at
the Basilica di San Clemente
Your personal commitment and passion are
inspiring - as a busy participant in the festival, I found myself working in a
safe, comfortable, happy environment where the common goals of
outstanding performances and quality musicianship
are pursued in lessons, coachings, stagings, concerts and festival
performances. Singers flourished under the warmth of the sun and basked
in the glow of glorious accompaniments by both pianists and the orchestra.
I cannot thank you enough for those five weeks.
The confidence and experience I left with has enabled me to present myself as a
polished artists. I have already been engaged for two professional jobs since
my return, one of them a reprise of a role done in Italy!
If ever a saying was true, one gets out of the program
what one puts into it.
My greatest hope is that you find yourselves thinking
fondly of this past summer and the "ragazzi" as well.
I threw three coins in the Trevi Fountain before
leaving; one for health, one for my return to Rome, and
one as thanks for the opportunities at the ILAR Program, New Opera
Festival di Roma.
Mille Grazie,
mi amici.
Anne Elizabeth Bishop (Musetta, First Lady, Annina; ILAR Program, New
Opera Festival di Roma 2003)
____________________________
Dear
Maestro Vignati and Claudio Ferri ,
I would like to take a moment to thank you
both for a wonderful experience this summer! I am grateful to have had the
opportunity to sing both Germont and Papageno with you and was inspired
each night by the magnificent orchestra and historic venue. Moreover,
I am grateful for your personal dedication and commitment to making
New Operafestival di Roma and ILAR an outstanding opportunity for young artists
to explore their musicality
and stagecraft in a nurturing yet challenging environment. Rarely
have I seen two men work harder and I appreciate your professional integrity
and love of our art form. I also applaud the outstanding faculty assembled for
us and feel privileged to have witnessed such personal and artistic
growth among so many of the Festival participants during masterclasses,
concerts, and productions. The opportunities the Festival provide are
vital to any musician
pursuing a career in opera and especially those of us Americans that want to
venture onto European stages.
Having already performed mainstage roles
and participated in several Apprenticeship programs here in the US, I
found my experience in Roma to be precisely the opportunity I was seeking
to help bridge the gap from student to young professional. Whereas
ILAR provides many of the same benefits that American apprenticeships
provide, the additional bonus of speaking Italian everyday, experiencing
the historic locations of many opera settings (Castel Sant'Angelo!), and, most
of all, gaining the experience of singing Italian and German for native
(and opera savvy) speakers is unparalleled here in the States. It is
simply an added bonus that you have so much fun doing it.
Under your capable guidance, I am certain
that New Operafestival di Roma is well on its way to being the premiere summer festival
in Roma and I wish you both continued success.
I look forward to seeing you both again
very soon.
Sincerely,
Ron Loyd
____________________________
Dear Maestro Stefano, Dear Claudio:
I would like to thank both of you most sincerely for
an outstanding musical
experience at the New Operafestival di Roma 2003. From the first rehearsal to
the last performance, you made me feel supported yet challenged, and kept
pushing me to live up to your high musical
standards.
On one hand, Maestro Vignati lead the amply scheduled
Magic Flute rehearsals with untiring energy, patience, musical
insight and plenty of humor, giving me time to develop a dramatic
characterization based upon his musical
vision. During the performances with the exceptional orchestra of the New
Operafestival, he relentlessly inspired me to give my best, setting the example
himself at the podium.
On the other hand, the concert performances of La
Traviata, Tosca and La Bohème taught everyone the importance of musical and
dramatic preparation and the ability to think on their feet, as rehearsal times
were extremely short. Especially La Traviata became a prime example of
professionalism, and of cooperation between the conductor, the orchestra and
the singers. The love for the music and
the understanding of the drama was evident in the way the orchestra shaped the
phrases under the baton of Maestro Vignati and carried the first rate singers
along. Thank you, Stefano, for your confidence in my abilities and your
inspiration.
As to organizational aspects, my most heartfelt thanks
to you, Claudio, for being so generous in spirit, support and efforts. Your
constant concern for the smooth running of the Festival as well as for the
personal well-being of everyone involved cannot be stressed enough.
In short, I could not have imagined a more rewarding,
professional and mutually respectful environment in which to perform my first
roles as a tenor, and I look forward to many more collaborative moments.
Daniel Biaggi
____________________________
Dear Maestro Vignati:
I am writing to
thank you for the great pleasure I have had working with you in the
International Academy of Rome. It has
been a fulfilling experience, both professionally and personally, to be a
member of the faculty for the past five summers. During these years I have seen the academy
grow into a first class learning program, unequalled in the world. The range of singers from high school to professional
has been consistently impressive, and the overall level of artistry seems to have
reached new heights in the past two years. Providing an opportunity to sing a fully staged opera with orchestra at
a professional level, for the sophisticated “Roman” public!, is a unique and
important performance experience for a singer at any level. The historic
cortile of San Clemente is a magnificent venue and the location in the heart of
Rome is inspirational.
As a voice
teacher I have found the work with the students to be most rewarding
and my own students who have attended have responded with great enthusiasm
to the program. In addition I have met
some wonderful colleagues and made life-long friendships as a result. Your
influence on the preparation and realization of the operas has been invaluable
and your presence as colleague has enriched my life.
I look forward to returning to work with you each
summer and encourage as
many singers as possible to take advantage of this exciting opportunity to
spend a month singing in Roma!
With warmest
regards, your friend and colleague,
Mara
Waldman September 12, 2003
____________________________
Dear M° Stefano Vignati and Claudio:
I can't believe that a month ago I was in
Rome and we were performing Il Flauto
Magico and I was preparing for my La Traviata with the orchestra. I cannot thank you
enough for such a marvelous summer. It was truly a life-changing
experience for me. If I could transport myself back there and live it
again, I would. It was the most delicious July.
Thank you both for your tireless hard
work. I have told so many people since I've been back in New York about
New Operafestival di Roma, about the two of you and what a fantastic
experience I had in Rome. I have never seen two people work as hard is
you did and never loose a temper or appear done in. You both were
marvelous and everything ran so very smoothly. It was a truly beautiful, musical,
magical festival and worth every penny.
I am really looking forward to seeing you
when you come to New York and singing for you again. The 2004 season
looks wonderful and I would love to come back the New Operafestival di
Roma.
I hope this finds you well, happy and on
the way to being rested and refreshed.
With great affection,
Lesley
Watson
____________________________
Singing Pamina in Mozart's The Magic Flute
this summer was a wonderful experience. Maestro Stefano Vignati had
a great sensibiltiy for music and
expression and he made the singer feel very comfortable and
confident. The master classes were very informative and we all
learned from the other singers something new about ourselves. The
rehearsal period allowed each singer to develop and build their craft and the musical
staff was always available to work repertoire for the production as well
as other repertoire.
There was a great vocal staff that
knew very much about techinique and what roles each singer
should learn and study. We were also fortunate to attend the other
concerts and outside cultural events in Rome which also was a fantastic
learning experience. The ILAR program is for all singers at every
level of their career.
Anna Raffaelli - Lyric Soprano (Pamina/The Magic Flute 2003)
____________________________
I had a wonderful experience as a student of the Lyric
Academy at the 2002 New Opera Festival in Rome. I attended the festival as a
accompanist/student conductor, and greatly enjoyed working with the high
calibre of singers that had been selected for the festival. The festival
organisers were able to provide a very friendly working environment whilst at
the same time encouraging professional-standard performances from the
participants. I learned a great deal about Italian operatic performing
traditions from assisting the musical
director/conductor Maestro Vignati and the other Italian musicians. All
the visiting students were shown generous hospitality by the local musicians
and festival staff, and this made the festival a very enriching overall
experience. I would recommend the festival to both singers and opera
coaches/student conductors as an educational experience and as a way of making
valuable contacts in the European and American opera fields.
Tom Rimes
____________________________
It was an
exceptional experience working with ILAR last summer of 2001. It gave me the possiblility
to express my talents to the fullest. I received critical claim in the
newspapers in Italy which was thrilling. Thank you for accepting me.
Bye bye ,
Kuusisto Rhisto
Hello Everyone.... I sang with the ILAR
Program two years in a row and I'd like to return also this year for the role
of the Conte in Le Nozze di Figaro. It's possible I won't get accepted because
after participating for 2 years I'll be forfeiting my turn to another young
student. I hope I'll be able to return to Rome, but I kow the applicants are
many. I'd like to say that I had a wonderful experience both years and enjoyed
working with such a professional organization. Whenever there was a problem
someone was always there for me. As a student I found myself in a situation
that I couldn't believe possible. Working with a professional orchestra and the
famed professors and conductors was incredible. I had the honor of singing with
italian and french singers who are already well into their careers. I sang with
the magnificent soprano, MariaAngela Spotorno, who has sang many times with
Placido Domingo and Andrea Bocelli! I studied with Giuseppe Taddei, Fedora
Barbieri, Janet Perry and Alice Baker . I would love the opportunity to do so
again in 2002. If I'm not accepted I wonder if I could at least be part of the
audience and be able to take singing lessons and join the auditions. For me it was an unforgettable learning
experience.
Mark Hedler
I highly recommend this summer program. Although
it is costly, you get great accommodations, italian food , and talent. Plus the
staff is awesome! Some of the best coaching and Master Class I've ever
received! I was a principal in the summer of 2001 and it was a terrific time. Please
do not hesitate to check it out. Original costumes and scenery, full,
professional orchestra and great crowds, too - up to 300 people a performance. In
addition, the audience actually knows about opera! Go for it - at any age!!!
HI!
The ILAR PROGRAM is not a Work Shop, but a professional situation where
talented students and gratuates have the rare opportunity to participate in the
costruction and final production of a grand opera. Certainly the complaints
that one may have can only be explained by my own experience that in which
student or students were not initially prepared. In the contract it is clear to
make a point that the opera in question be studied and memorized! In other
training Program they may have been sent home because it puts the entire
production in difficulty. Thanks to the patient members of the Festival and
extra hours of couching and individual help these students were, in the end,
able to participate in the final production. I don't want to mention names.
Most importantly, is that one understands that to accept and take part in this
program one must know that it is HARD WORK. The course is difficult and
demanding. You will be working daily with world renown teachers and have the
possibility to sing with a professional orchestra and a most interesting and
talented conductors. My contract stated that I was to do only one parformance,
but in the end I sang three. If you are good this is a great opportunity for
your career and you may also receive a scolarship. You will have the experience
of performing for a great audience in the centre of Rome with many journalists
by RAI who come specifically to hear and see new young talent. Unfortunately,
my first year in Rome I too had a bad experience with another program. They
were not serious and not nearly as professional. For myself I am very happy
with the New Operafestival di Roma and it has been a great help for my career. I
now work with an Italian agent who comes to see all my performances and
concerts.
Maela Harris
I greatly enjoyed partcipating in the New
Opera Festival di Roma 2001 because it gave me the opportunity to perform a
role on stage in a beautiful setting with a professional orchestra. I also
performed in recitals with other singers of all levels, and attended Master
Classes which were particularly enjoyable and helpful.
Laura Mamakos
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