Sunday, July 30 – Friday, August 11, 2017
The application deadline for this Programme has now passed
Participation in ‘The Compleat Singer’ offers a unique opportunity to explore & experiment in all aspects of the Baroque singer’s development. This intensive course is designed for advanced-level participants such as professional singers, university, conservatory and college students (advanced amateurs may be accepted if space permits).
detailed bios at bottom of page.
Ellen Hargis Course Director & Voice
Marie-Nathalie Lacoursière Gesture, Dance & Stage Movement
Lucas Harris Coach-Accompanist (Lute & Theorbo)
Christopher Bagan Coach-Accompanist (Harpsichord, Organ & Fortepiano)
Michael Jarvis Coach-Accompanist (Harpsichord, Organ & Fortepiano)
In general, the course focuses on seventeenth century repertoire, which set the foundations of baroque style and gesture – but any solo vocal repertoire from circa 1580 to 1700 is relevant, including solo song, early opera, and oratorio.
Masterclass Sessions with Ellen Hargis
Each participant will sing three times in masterclass (masterclass lessons will be approx. 30 minutes). Students may sing repertoire chosen from our online library or proposed by the student and approved by Ms. Hargis. They will rehearse their pieces with the designated accompanist in a coaching session prior to the masterclass.
Feldenkrais with Marie-Nathalie Lacoursière
A gentle 30-minute warm-up for the day
Gesture and Stage Movement with Marie-Nathalie Lacoursière
In the first week, this session will explore basics of gesture and staging technique as well as historical dance. In the second week, we will focus on your vocal repertoire from masterclass and add gesture and staging.
Each participant will receive three 45-minute coaching sessions each week with Christopher Bagan, Lucas Harris, or Michael Jarvis. These sessions will be devoted to preparing repertoire for masterclass.
Private Lessons with Ellen Hargis and with Marie-Nathalie Lacoursière
During the course, each participant will receive two 30-minute lessons with Ellen Hargis, and two 30-minute lessons with Marie-Nathalie Lacoursière. Material to be studied in these lessons (whether repertoire or technical study) will be decided in consultation with the instructors.
“The Modern Baroque Performer” – with the programme faculty
A daily class/discussion will touch on a number of topics relevant to singers performing baroque music, including tuning and temperament, rhetoric, ornamentation, poetry, commedia dell’arte, baroque dance, career issues, and other topics. No preparation is necessary for this class.
The number of full participants is strictly limited to twelve singers; as we anticipate full enrolment, it is strongly advised that applications be received by April 15. Selection of participants will be on the basis of the written application and audition recording; the criteria for acceptance will be the quality and experience of the applicants, as well as what we anticipate they will contribute to the course. Special consideration will be given to those on a professional early music training track.
A limited number of Participating Auditors will be considered, at a reduced fee. They will take part in most aspects of the course (including coaching from faculty coach/accompanists), but will not sing in the masterclasses nor receive private lessons.
Non-Participating Auditors will be welcome at any activity of the Programme; they may sit in on any of the sessions & lectures (except private lessons) but may not actively participate unless specifically invited by the instructors. Daily or Weekly Auditing Passes for Non-Participating Auditors are available; the weekly passes include tickets for up to two Vancouver Early Music Festival concerts taking place during that week.
TUITION, AUDITING FEES & SCHOLARSHIPS
Full Participants: The tuition fee for Full Participants in the Baroque Vocal Programme is $1,350 CAD for two weeks. Included are tickets for all Vancouver Early Music Festival performances that take place during weeks of the Baroque Vocal Programme. A non-refundable deposit of $100 CAD is required with registration; the balance is due by Saturday, July 1, 2017.
Participating Auditors: The tuition fee for Participating Auditors in the Baroque Vocal Programme is $500 CAD per week. These Participating Auditors will take part in all aspects of the course (including coaching from faculty coach-accompanists), but will not actively participate in the masterclasses and not receive private lessons from Ellen Hargis. Included are tickets for the concerts of the Vancouver Early Music Festival that take place during the week(s) for which you have registered.
Non-Participating Auditors: The tuition fee for Non-Participating Auditors in the Baroque Vocal Programme is $350 CAD per week. These Non-Participating Auditors will be able to attend all sessions of the course (except private lessons), without actively participating. This tuition fee include tickets for up to two concerts per week of the Vancouver Early Music Festival that take place during each of the week(s) for which you have registered.
Late registrations: Late registrations will be considered only if space permits.
In general, the course focuses on seventeenth century repertoire, which set the foundations of baroque style and gesture. It is recommended that each participant have a variety of repertoire prepared, of contrasting styles, languages and forms. In general, any solo vocal repertoire from circa 1600 to 1750 is relevant, including solo song, early opera, and oratorio. Selections will be accompanied by a harpsichord or lute/theorbo, and A=440 as well as low pitch A=415 will be used at the course.
The faculty have prepared an on-line library in Dropbox from which you may choose your repertoire for the course. A link to the Dropbox files will be provided upon acceptance to the programme. You may also submit your own pieces for consideration; you will need to send a pdf of the actual music you propose to sing along with a copy of the translation you are using. Depending on the suitability of your choices, we will accept them, supply better editions or translations, or make alternative suggestions. You will receive a course pack with all of the music being presented in the course, translations, and handouts for the lectures.
Historical Dance Workshop for Beginners
Saturday, August 7 | Marie-Nathalie Lacoursière, coach
Early Music in Context – free public lectures & screenings
From Tuesday, August 1 through Friday, August 11
Vancouver Bach Festival
Tuition fees include free Festival tickets for participants of the Baroque Vocal Programme, for all the concerts taking place during the weeks of the programme.
Ellen Hargis is one of America’s premier early music singers, specialising in repertoire ranging from ballads to opera and oratorio. She has performed with many of the foremost period music conductors of the world including Andrew Parrott, Gustav Leonhardt, Paul Goodwin, Monica Huggett, Jane Glover, Simon Preston, Daniel Harding, Paul Hillier, Harry Bickett, Craig Smith and Jeffrey Thomas.
She has performed with the Estonian National Symphony Orchestra, Saint Paul Chamber Orchestra, Virginia Symphony, Washington Choral Arts Society, Long Beach Opera, CBC Radio Orchestra, Freiburg Baroque Orchestra, Philharmonia Baroque Orchestra, Teatro Lirico, Tragicommedia, New York Collegium, The Mozartean Players, Fretwork, Emmanuel Music and the Mark Morris Dance Group, and has been regular performer with Chicago’s Music of the Baroque, the American Bach Soloists, Seattle Baroque and the Portland Baroque Orchestra. She has appeared at many of the world’s leading festivals including the Adelaide Festival (Australia), Utrecht Festival (Holland), Resonanzen Festival (Vienna), and Festival Vancouver, Tanglewood, the Berkeley Festival and New Music America Festival. She has been featured in successive seasons of the Boston Early Music Festival where she has sung Aeglé in Lully’s Thésée, the title role in Luigi Rossi’s L’Orfeo, Queen Pasiphae in Conradi’s Ariadne and Irina in Johann Mattheson’s 1710 opera, Boris Goudenow. Lully’s Thésée and Conradi’s Ariadne were recorded for CPO and were nominated respectively for 2007 and 2006 Grammys.
Recent engagements include a performance and recording of Música Celestial, music from a 17th c. Mexico City convent, which Ms. Hargis researched and directed as well as sang in with the Newberry Consort. On tour with The Newberry Consort, she performed the Cantigas de Santa Maria in New York, Boston, Milwaukee and Pittsburgh. She returned to The Chicago Chorale to sing Bach’s St. Matthew Passion, and performed Monteverdi’s Vespers under the direction of Paul O’Dette.
Ms. Hargis is also a stage director, and worked for three seasons with the Haymarket Opera Company in Chicago, where she directed Charpentier’s La Descente d’Orphée aux Enfers, and Actéon, Purcell’s Dido and Aeneas, and two chamber operas by Handel. As Assistant Director at the 2015 Boston Early Music Festival, she oversaw the revival of Gilbert Blin’s 2009 production of Monteverdi’s L’Incoronazione di Poppea.
Ellen Hargis has a longstanding musical partnership with the great lutenist Paul O’Dette with whom she records and tours regularly. They have performed together throughout the United States, Canada, Austria, France Spain, Russia and Asia. Two recordings on the Noyse Productions label: The Power Of Love and A Christmas Album, have been met with critical acclaim. She is also featured on a dozen Harmonia Mundi recordings including a widely-acclaimed solo recital disc of music by Jacopo Peri, and in Arvo Pärt’s Berlin Mass with Theatre of Voices. She appears on a recording of Handel solo cantatas with the Seattle Baroque Orchestra on Wild Boar, the premiere recording of the Bonporti motets for soprano on Dorian, and several recordings for BMG Classics, Vanguard Classics, Virgin Classics, Erato, Dorian Classics and Berlin Classics. Her recording of Tristan et Iseult with The Boston Camerata was winner of the Grand Prix du Disque.
Ellen Hargis is a visiting professor at the Eastman School of Music, and will teach residencies at the Oberlin Conservatory, The Julliard School, and the University of Wisconsin during the 2015-2016 academic year. She is an Artist-in-Residence with the Newberry Consort at the University of Chicago and Northwestern University and directs at Early Music Vancouver’s annual Vancouver Baroque Vocal Programme.
A recipient of grants from the Canada and Quebec Arts Council, Marie-Nathalie Lacoursière has a multidisciplinary background in music, acting (specialising in commedia dell’arte) and dancing. She is an associate partner with Toronto Masque Theatre and with Le Nouvel Opéra (Montreal), and she is the artistic director of Les Jardins chorégraphiques in Montreal.
For over 20 years she directed, choreographed or danced with many groups in Canada, the United States and Europe. She was invited in many festivals: the Festival of ideas (Edmonton), Orford Festival, the Boston Early Music Festival, (Lully’s Psyché), the Vancouver Early Music Festival, the New Zealand Chamber Music Festival, the Festival de Lanvellec in France, the Festival Musicale Estense in Modena (Italy), and at The International Baroque Festival in Lamèque. For the past six years she has directed and choreographed the finale of the Festival Montréal Baroque.
She has choreographed all of Purcell stage works for the Toronto Masque Theatre, and has created Mozart a Milano (2006) and Purcell’s The Fairy Queen (2009) which were both nominated for the Opus Prize best performance of the year.
She has also gained a reputation as a stage director for many opera productions: Donizetti’s L’elisir d’amore and Offenbach’s Tales of Hoffmann for Youth and Music Canada; Bizet’s Carmen for the Opera-Theatre in Rimouski; Purcell’s Dido and Aeneas for Appolo’s Fire in Cleveland; Rossini et ses muses, le Grand Dîner, Visibilia (Monteverdi), and La Belle Danse for L’opéra de Montréal; and Rameau’s Pygmalion for Le Nouvel Opéra and the Vancouver Early Music Festival.
At the University of Montreal opera division she has directed Handel’s Giulio Cesare, Strauss’ Zigeunerbaron and Fledermaus, Monteverdi’s L’Incoronazione di Poppea, Purcell’s The Fairy Queen, and Campra’s Les fêtes vévitiennes and L’Europe Galante. For McGill University she has directed Monteverdi’s Il Ritorno d’Ullisse in Patria and Lully-Molière’s Les jeux de l’Amour, and choreographed Rameau’s Les Indes Galantes.
Ms Lacoursière is a Professor of gesture and baroque dance at the University of Montreal, and also taught at Université du Québec à Montréal, Stanford University in California, Indiana University, the University of Alberta and the University of Sackville in New Brunswick. She created Lully’s Le Ballet de l’Impatience which premiered at the Festival Montréal Baroque in June 2011.
Lucas Harris studied the lute and early music at the Civica scuola di musica di Milano (as a Marco Fodella Foundation scholar) and at the Hochschule für Künste Bremen. Based first in New York and since 2004 in Toronto, he has become one of North America’s busiest lutenists.
In addition to his regular engagements with Tafelmusik Baroque Orchestra, he has worked with Circa 1500, Apollo’s Fire, the Smithsonian Chamber Players, The Harp Consort, the Boston Early Music Festival orchestra, Les Délices, and many other ensembles. He is the founding member of the Toronto Continuo Collective (a seventeenth-century ‘pluck band’), the Vesuvius Ensemble (dedicated to Southern Italian folk music), and the Lute Legends Ensemble (a multi-ethnic trio of lute, pipa, and oud). Lucas has also played with several modern-instrument groups, including the Boston, St. Louis, and Montréal Symphony Orchestras, the New York Metropolitan Opera, the Orchestra of St. Luke’s, and Via Salzburg, with whom he was a concerto soloist. Recordings include the solo CD Baroque Lute Recital as well as a collaboration with violinist Geneviève Gilardeau, The Bach/Weiss Sonata.
A new addition to the Baroque Vocal Programme faculty as of last year, Lucas is also regular faculty member of the Tafelmusik Baroque Summer Institute and Oberlin Conservatory’s Baroque Performance Institute. He has also taught for the International Baroque Institute at Longy, the New York Continuo Collective, and Amherst Early Music/Lute Society of America. Lucas has been a guest music director with the Pacific Baroque Orchestra, the Ohio State University Opera program, and Les Voix Baroques. He recently completed his M.M. in choral conducting at the University of Toronto with Dr. Hilary Apfelstadt, funded by a prestigious SSHRC research grant. In 2014-2015 Lucas served as guest director with the Toronto Consort and became the new Artistic Director for the Toronto Chamber Choir.
Christopher Bagan is a versatile artist, equally at home on modern and historical keyboard instruments. He is in high demand as a collaborator, chamber musician and basso continuo specialist. He has performed with many of the leading baroque singers, instrumentalists and conductors in North America and abroad with recent engagements including appearances with I Furiosi, Apollo’s Fire, Les Dèlices, Catacoustic Consort, Daniel Taylor and Ellen Hargis.
He is a regular performer in the Early Music Vancouver main series and Summer Festival as well as Vancouver’s Music on Main concert series. In 2015-16 Christopher was the Early Keyboard instructor at Case Western Reserve University and the head of Harpsichord at the Cleveland Institute of Music. He is harpsichordist for the Canadian Opera Company and Opera Atelier and holds a Doctor of Musical Arts in piano performance from the University of British Columbia with a specialization in the piano music of Arnold Schönberg.
Newly-moved to Victoria, Michael Jarvis is one of Canada’s finest harpsichordists, fortepianists and continuo players, and is in demand as a collaborative artist. A frequent performer throughout Vancouver Island and the Lower Mainland, he has also performed with many of Canada’s leading orchestras and chamber ensembles, accompanied, conducted, or played continuo for many of Canada’s finest singers and has appeared as soloist or continuo player at many festivals throughout North America.
He has conducted the Hamilton Philharmonic Orchestra, the baroque dance ensemble of La Belle Danse in Toronto, was organ instructor at and Artistic Director of the Mohawk College Singers, a 90 voice choral society based at Mohawk College, Hamilton and was for 15 years Artistic Director of the period instrument ensemble The Baroque Players of Hamilton. In addition to performing across Canada, he has performed as soloist and continuo player throughout the USA, England, Italy and Bermuda.
Michael Jarvis may be heard on the Marquis Classics, Hungaroton, ATMA, Naxos, Solitudes and Avalon CD labels, and has many times broadcast nationally and regionally for the C.B.C., as well as nationally across the U.S. on N.P.R. His and violinist Paul Luchkow’s CD of Hummel’s op. 5 violin sonatas was chosen as a finalist as best classical album of the year in the Western Canadian Music Awards 2013. He also appears as harpsichordist on the Victoria Baroque Players’ debut CD, also nominated for best classical album of the year with the Western Canadian Music Awards 2015. His new CD with Paul, Michel Corrette’s Sonatas for Harpsichord and Violin, Op. 25 (on mythological themes) will be released on the Marquis CD label in Spring 2017.
Michael was featured on two national Canadian television specials for Bravo: “A Baroque Christmas” and “A Baroque Easter”. He was also co-host and star of the 13-part television series “Come into the Parlour” for Bravo-tv. He also conducted in Toronto the world premiere of the chamber opera “Cassandra” by Vancouver composer Ian McAndrew, to glowing reviews in Opera Canada. He was recently appointed conductor of the “Bach on the Rock” chamber choir and orchestra on Salt Spring Island.
His performing editions of 17th and 18th century choral and organ music have been published by GIA, Chicago. He has taught harpsichord and continuo, and has lectured many times at the University of Toronto. He has taught harpsichord performance at Wilfred Laurier University in Waterloo, Ontario and at Havergal College, Toronto, and fortepiano at UBC.
When he is not playing early music, Michael is an avid collector of early jazz and early opera 78 rpm recordings and is an early phonograph restorer. Michael lives in Victoria, BC.