Wednesday, November 4, 2015

Chuck Hudson classes Friday: reminders

Folks,

Remember that on Friday, we begin class 5 minutes early (12:15) in the dance studio. There will be two short breaks, so feel free to bring a sandwich or something to nibble on so you don't get fatigued (no smelly food, please: it is a relatively small space for that many people). Everyone is required to stay until 2:30 unless they have a class. Music majors, there is no choir that day. I need to hear from you if you have a class or a tour: do not assume I am psychic or have everyone's schedule memorized. If I do not hear from you ahead of time and you do not come or leave early, it will be an unexcused absence. Some of you have not been to any of the events beyond the Friday performance class time. Check your syllabus, lest you be surprised by your final semester grade. 

Here are a few notes from Chuck:

This is an extremely active and movement oriented series of master classes. Participants are directed to dress as they would for a movement class: i.e. t-shirts and sweats (gym clothes) with a sweatshirt or some other layer for warmth or to take off as well. Please wear SNEAKERS (no hard soled shoes, no high heels, no boots, no open toed shoes or sandals) and please no dress pants, jeans, skirts, etc. Please also have your hair attached back away from your face.

We'll move to the choir room at 2:30 for the master class portion. I have emailed each of you, but here are the directions from Chuck, just in case:

PREPARATION INFORMATION FOR SINGERS: 
o   Dress comfortably-rehearsal clothes or casual wear is fine; you do not need to be in "Audition Attire" and you do not need to be in the movement clothing from the group master class.
o   You must be memorized "off book" for this work.
o   Please bring 2 clean copies of the music: one for the accompanist and one for me—please do not bring a bound score or a copy with lots of your notes already on it.

o   If your piece is not in French or English, I will need a word-for-word translation written legibly on the line of music: not a translation on another page, and not the existing English translation of the piece which is not word specific.

It bears reminding that you should everything there is to know about your character that is given in the libretto. This includes your name and age, the plot of the opera from which it is taken, and what has happened immediately before your aria. Why are you singing it? To whom? What is your relationship to that person? You should also be able to translate your piece without looking at the score: know the text cold, as if it is your own language. This is how the work begins.

This class promises to be fantastic: Chuck is a wonderful clinician. Enjoy the ride!

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