By Lyn Bronson

Winding up the series of Adams Vocal Master Classes, David Gordon was back at the helm for the final session. Gordon led off by reminding the audience that on Saturday, August 1, at 1:30 pm in Sunset Center Theater, there would be an opportunity to hear the four vocalists we were hearing today in the final event of the Adams Vocal Master Class, a concert honoring the 250^th anniversary of the death of Georg Friedrich Handel. Performing with the four singers would be an ensemble of musicians from the Festival Orchestra. Once Again, Gordon paid tribute to the very fine assisting pianist Scott Dettra — who incidentally, blew us away at one point during the master class by instantly transposing at sight a difficult aria down a half step.

Derek Chester & David Gordon

Starting off the afternoon’s session was tenor Derek Chester singing “Dread the Fruits of Christian Folly” from Handel’s Oratorio “Theodora.” Gordon led off by saying that Chester had performed the work recently on short notice as a substitute for someone who was indisposed. In order to do this he had to learn the aria practically overnight and fly to San Francisco for the event. Gordon quipped, “He performed it, and now he is studying it.” Although this is obviously the reversal of the usual procedure, it demonstrates what a resourceful musician Chester is.

Gordon’s first suggestion was that they apply a very strict rhythm to the recitative. Gordon said.”Yes, of course we want a flexible freedom in a recitative, but freedom from what?” So, Chester performed the recitative once again with a steady beat dictated by the thumping foot of Maestro Gordon. They gradually brought back the freedom and spontaneity, but with a strong pulse always discernable. Gordon reminded Chester that recitatives are very important to a tenor, “Half of your career as a tenor will be spent singing recitatives.”

We heard a lot of discussion about breathing. Chester was reminded that even when taking a breath, the musical thought has to continue. He was advised to ration his air and to take it in silently and invisibly by taking in a breath as he ended a note. There was some interesting discussion of gestures and how they shouldn’t be superfluous, but directly related to and enhancing the text and the musical line.

Scot Dispensa

After baritone Scott Dispensa sang Quoniam tu solus from Bach’s B minor Mass, Gordon mentioned that Dispensa needed to “phonate” every “s.” Since some of us who are not vocalists have probably never heard of the word “phonate” (and Microsoft’s spell checker doesn’t recognize it at all), this was an interesting discussion, and even more interesting to observe its application. Gordon mentioned that Bach’s intention here was a guided meditation to the text, and the music only had meaning when it reinforced the text. Gordon reminded the audience that Bach’s music is so much greater than our ability to perform it.

Gordon told Dispensa, “I want to see a smile in your eyes.” It was fascinating to observe how Dispensa’s expression changed, and how this helped the music to achieve a much more meaningful and expressive projection.

Abigail Nims

Abigail Nims, mezzo soprano, performed a recitative and arioso from Bach’s St. Mathew Passion. Gordon again stressed that Bach intended the singer to guide the congregation through a meditation, “It’s not what you feel, but what the congregation should feel.”  Gordon said that Bach often gives us more than one thing to think about, and right after a profound meaning delivered in the text, the orchestra might suddenly interject a chromatic passage or even something resembling a minuet — one of the most superficial dance forms that would be immediately recognized by congregations in his time.

Gordon stated that everything was new in Bach’s time, and music of a previous era was generally not performed. He also stressed the universality of Bach’s music, “We have performers of all faiths on stage during the Carmel Bach Festival, and additionally this music touches people of many faiths (and no faiths) among the millions who hear his music constantly.

Coleen Hughes

Ending the afternoon master class was soprano Colleen Hughes who sang Tornami a Vagheggian from Handel’s Alcina. Gordon said that when it comes to performing there is no absolute right way or wrong way; however one wrong way is not to keep looking for new solutions. We must always be engaging ourselves in the process of learning more about the music. After asking Hughes about ornaments, he suggested, “Don’t ever do an ornament that someone has told you to do if you don’t feel it.” There was a discussion about legato and detaché with the advice to experiment with our own feelings about legato and detaché on a particular day, for you might feel a different way tomorrow.  One of his parting suggestions was, “Give the audience something to remember you by, and sing it through your eyes.

This was an interesting session for we were able to observe how each singer tried out Gordon’s suggestions and always tried to understand how his suggestions were intended to improve the music and the text.

End