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Archive for the ‘Master Class Information’ Category

Read Comments for Tomoko’s Masterclass

Friday, February 4th, 2011

FROM THE AUDIENCE
” Master classes have long been one of my favorite ways to enjoy and learn about music, and Ms. Okada’s class last night was as good as they get. (I’ve become a fermata hawk!) Keep her, and others, coming. I also want to wish Open Opera the very best in your effort to expand and deepen its offerings. ”

” I thoroughly enjoyed the master class with Tomoko Okada on Sunday night in Berkeley.”

“Without a doubt one of the best and most compelling evenings. I know how much work it takes to put these things together. I learned a lot. ”

FROM SINGERS:
“Tomoko’s understanding of Mozart was uncommonly deep and specific. Her love of the composer, the music, and the singers was always evident. She gave us a framework for looking at Mozart, and we made musical discoveries together.
I was able to squeeze in a private coaching with her the next day, which was tremendously useful and inspiring. Her understanding of Verdi is similarly comprehensive. Please bring her back soon!”

“Wow, what can I say about Ms. Okada!? First of all, Tomoko knows her stuff, but it is her musical depth and that makes working with her such a pleasure. In a revelatory way, she points out what is simply already on the page, bringing out new dimension meaning, wholeness, and purpose in the singer’s understanding of the composer’s work. It is in her way that she evokes a higher musical awareness - Tomoko is kind, witty, and funny; she is an absolute pleasure to make music with!

This is the second OpenOpera masterclass I have been fortunate to participate in. As always, OpenOpera provided a warm, supportive, and fun atmosphere for us and Tomoko to work in. It is always without pretense, but of high standards, that OpenOpera creates a space for a quality musical experience for singers and players. In a business that often feels overly competitive and cut-throat, OpenOpera is a breath of fresh air. The vision of those who make OpenOpera a reality comes from a very clear place of wanting to help singers and community alike to provide a unique experience with opera, and that authenticity shines through every concert or event. I am so grateful for OpenOpera!”

“I’m so happy to have met Tomoko. I just had a coaching for La Traviata—well, just a few pages of La Traviata :) It’s all about the details, isn’t it. Thank you!!

“Thank you for a wonderful masterclass experience”

Mozart Celebration at the Berkeley Piano Club 2724 Haste Street

Saturday, January 29th, 2011

OPEN OPERA presents
Master Class with Tomoko Okada
“Mastering the Mozart Style”
Berkeley Piano Club
2724 Haste Street
Berkeley, CA 94705
Sunday, January 30, 2011
6PM-9PM - $15 suggested

SINGERS:
Elizabeth Baker “Non so piu” The Marriage of Figaro
Aimee Puentes “Deh vieni” The Marriage of Figaro
Ryan Bradford Papageno’s Suicide Ari, The Magic Flute
Eileen Meredith “Ach ich fuhl’s”, The Magic Flute
Torlef Borsting “Hai già vinta la causa”, The Marriage of Figaro
Angela Moser “Ach ich liebte”, Abduction from the Seraglio

Open Opera presents : “Mastering the Mozart Style” with Tomoko Okada

Tuesday, January 25th, 2011

OPEN OPERA presents
Master Class with Tomoko Okada
“Mastering the Mozart Style”
Berkeley Piano Club
2724 Haste Street
Berkeley, CA 94705
Sunday, January 30, 2011
6PM-9PM

Open Opera begins its 2011 season by presenting a master class with coach Tomoko Okada.
About Tomoko:
“Tomoko Okada has been a coach in German Opera Houses for many years, culminating in 10 years at the Bayrische Staatsoper in Munich where she worked with the world’s top conductors and singers. She is Jeaneane Alemeyer’s (the famous Wagnerian Soprano) favorite coach in Germany. It turns out she also worked with Olivia Stapp, when she was singing Elektra at Frankfurt-am-Rhein!

Tomoko is kind, enthusiastic and upbeat while keeping you to top international standards of musicality and diction. She is an incomparable pianist as she is able to play “impossible to play” pieces (Wagner, Richard Strauss, Berg).
Since she is so familiar with the German theater system and plays regularly for top agent auditions, she was very insightful about helping me pick audition repertoire.” – Elender Wall, mezzo-soprano, Los Angeles

Tomoko: “I was fortunate to work with great conductors that perform music in the right style. But singers can discover the style independently if they learn how to read the music properly. You can never be precise enough and I find looking at music and discovering the intention of the composer infinitely fascinating. Singers will appreciate Tomoko’s extensive experience as the go between the conductor and the singer. Conductors are more impressed with singers who are great musicians-those that understand the music intimately. Great musicians bring out better conductors. To my great delight my approach is enjoyed by singers.”

“Three keys to excellent recitative performance: learn as it is written, pay attention to the harmony changes, which word has a particular rhythm, where the composer puts the rest, which word has the longest note in the phrase tells us which word the composer wants to emphasize.”

“Two great weapons: 1) Free to change the tempo when the recitative does not need conducted.
2) Free to change the dynamics.

“As a rehearsal pianist, you play from the opera score and you have certain freedom, what to play and what not to play. You do this every day 7 days a week, for years, you develop a certain style of playing.”

“I was fortunate to work at the opera house where I could represent the orchestra during the day and then at night listened to the orchestra.” (Colleagues complimented Tomoko saying that they could hear the orchestra in her playing. MAGIC!”)

“When you figure out the right phrasing then you use breath the most efficient way, therefore the voice is more beautiful. Also, be very aware of the melody, harmony and rhythm. Melody is easy for singers. That is why singers must pay attention to harmony and rhythm.”

Reflections from Olivia Stapp: “ I think she goes past the written score and brings new insights and deep understanding therefore brings music making to a whole different level. One could say the international level. What makes Tomoko so valuable is she worked in the German system where there are performances every night for months and months, therefore, her repertory range is vast from early music to contemporary. It is unusual to have access to someone with this type experience in the Bay Area. This master class is an opportunity for artists to upgrade their skills, develop a new approach to preparing music performance. Tomoko’s playing will also be a revelation for accompanists as her piano playing is renowned for her mastery of reflecting the elements of the orchestra. “
Tomoko Collaborations:

Conductors: Zuben Mehta, Guiseppe Patane, Peter Schneider, Horst Stein, Silvio Varviso, Jacque Delaote, Marcello Viotti,
Michael Gielen, Donald Runnicles,Nicola Luisotti, Marco Armilieato, Alberto Zedda (Rossini expert)

Singers: Jeannine Altmeyer, Edita Gruberova, Sheri Grenewald Cheryl Studer, Pietra Maria Schnitzer, Barbara Bonney, Linda Watson, Agnes Baltsa, Feruccio Furlanetto, Manfred Schank, Uglia Varady, Franz Grundheber, Dennis O’Neill, Louis Quillico, Anna Nebtrebko, Diana Damrau

Opera Houses: Opera Frankfurt, Munich and Brussells Geneva

Handel: Ariodante, Rinaldo Iver Bolton) Rodelinda, Saul, Guilio Cesare, Xerxes
-Mozart: Figaro, Zauberflute, Cosi, Abduction, Ideomeno, Clemenza di tito
-Beethoven: Fidelio Zuben Mehta, Waltrud Meyer, Peter Sieffert
Der Freishutz
Bellini: I Puritani, I Capitetti e Montechi,
Donizetti: Don Pasquale, L’elisir d’amore (Barbara Bonney)
Rossini: Il Barbarieri di Seville, Cenorentolla, Italiani in algeri, Il Turco in Italia, Musee
Verdi: Aida, Don Carlo, Il Trovatore, La Forza Del Destino, La Traviata, Simon Boccanegra, Othello, Falstaff, Un Ballo in Maschera, Macbeth, Nabbucco
Puccini: Tosca, Manon Lescaut, Turandot, La Boheme, Il Triticco
Bizet: Carmen

Wagner: Tannhauser, Tristan und Isolde, Parsifal, Lohegrin, Dutchman, The Ring
Richard Strauss: Rosenkavelier, Salome, Elekra, Ariadne auf Naxos, Capriccio, Arabella
Berg: Lulu

She is available for private coachings until Feb 1st. She is charging $75, and is coaching in San Francisco, near City College of San Francisco.

Call 415-587-0836 or email elender@elenderwall.com for appointments.

Program for Jeannine Altmeyer Master Class 2010

Monday, April 12th, 2010

Open Opera Master Class Series 2010
presents Jeannine Altmeyer
Berkeley Piano Club
April 10, 2010 7PM
Pianists: Chun Mei Wilson and James Meredith
Host: Olivia Stapp
Angela Moser “Dich, teure Halle” Tannhäuser, Wagner
Elender Wall “Du bist der Lenz” Die Walküre, Wagner
Megan Cullen “Es gibt ein Reich” Ariadne auf Naxos, Strauss
Elizabeth Baker
Paula Goodman Wilder Immolation Scene “So-werf’ ich den Brand, in Walhalls prangende Burg” Götterdämmerung, Wagner
Eileen Meredith “Donde lieta” La Bohème by Puccini
Lisa Houston “Sein wir wieder gut” Ariadne auf Naxos, Strauss
Lisa van der Ploeg “Wo in Bergen du dich birgst” Die Walküre, Wagner
Christine Springer “Der Männer Sippe sass hier im Saal” Die Walküre, Wagner
Heather McFadden “Weiche Wotan” Das Reingold, Wagner

Jeannine Altmeyer Master Class - Don’t Miss!

Thursday, April 1st, 2010

FOR IMMEDIATE RELEASE:

OPEN OPERA PRESENTS: WAGNERIAN SOPRANO JEANNINE ALTMEYER
APRIL 10 at THE BERKELEY PIANO CLUB

Berkeley, California (April 1, 2010)—Open Opera opens its 2010 season with an insightful master class on April 10 with dramatic soprano Jeannine Altmeyer.

Audience members will witness a great artist unveil secrets of opera performance while select singers will have the opportunity to work with one of the leading Wagnerian sopranos of our time. In this latest offering from Open Opera’s Master class series, Jeannine Altmeyer will offer technical and interpretive insight to emerging artists. Whether you sing at church, in a community chorus, or simply wish to learn how opera singers do it, there is much to gain from joining Open Opera at 7 p.m. Saturday, April 10, at the Berkeley Piano Club in Berkeley.

Soprano Jeannine Altmeyer first captured the attention of the opera world when, at 21, she won first prize in several major competitions, including the national Metropolitan Opera Auditions. She has been praised for her portrayal of Brunnhilde in Wagner’s Ring operas, Leonore in Fidelio, and Isolde in Tristan and Isolde. She has performed these and other roles extensively in the world’s major opera houses including the Metropolitan Opera, Covent Garden, Paris, La Scala, Rome, Teatro Colon, San Francisco, Los Angeles, and Chicago. Ms. Altmeyer has served as Guest Artist and Master class Teacher at the Hawaii Performing Arts Festival since 2005.

The Berkeley Piano Club is accessible to all persons with disabilities.

WHAT: Master class with Wagnerian soprano Jeannine Altmeyer
WHEN: Saturday, April 10, 2010, at 7:00 PM
WHERE: The Berkeley Piano Club, 2724 Haste Street, Berkeley, CA 94704
COST: $15 suggested donation
MAP: Google Map link:†http://tinyurl.com/BerkeleyPianoClubMap
TRANSIT: AC Transit local line 51B, also 49, 52, 851
CONTACT: Open Opera (510-547-2471; info@openopera.net, www.openopera.net)