Summer Opera Course 2020
Summer Opera Course
Haymarket Opera Company’s fourth-annual Summer Opera Course offers students a unique opportunity for an in-depth study of Henry Purcell’s The Fairy-Queen with leading artists in the field of early music and opera. Participants will take part in daily exploratory lessons in the Feldenkrais® Method as well as Viewpoints® Acting, with an emphasis in gesture of the 17th century. A select number of instrumentalists will work closely with HOC Artistic Director Craig Trompeter, Indiana University Professor Nigel North, and Roosevelt University Professor David Schrader. The week culminates in a staged public performance of Purcell’s The Fairy-Queen in Roosevelt University’s historic Ganz Hall and will feature the professional dancers of the Haymarket Opera Ballet.
9-10 Feldenkrais® Awareness Through Movement®
10-11 Viewpoints® Acting and baroque gesture / instrumental master classes
11-12:00 Ensemble master class
1:30-5:00 Stage rehearsals for Purcell’s The Fairy-Queen; concurrent instrumental ensemble rehearsals and musical coaching
Full 8-day course tuition: $850
*An additional $35 can be added to tuition for those participants interested in a group Architectural Foundation of Chicago’s riverboat tour.
2019 Summer Opera Course Faculty
Craig Trompeter, Program Director, Feldenkrais®
Drew Minter, Stage Director
Nigel North, Lute
David Schrader, Keyboard and Performance Practice
Sarah Edgar, Choreographer
Applications open: TBA
Applications due: TBA
You will need to submit:
$30 registration fee
A resume or brief description summarizing your musical background and experience, including formal and informal training, education, and professional experience.
Approximately 10 minutes of music showing your technique, expression, and understanding of baroque style. Please include at least one selection in Italian. High quality video files are preferred, but audio recordings are acceptable. Please include composer and title information with your submission and do not include music that was composed after the 1750s.
A professional headshot
Violinists, violists, cellists, lutenists, and keyboard players please send your curriculum vitae using this link.
Limited work-study scholarship funds are available with preference given to Chicago residents. To apply, provide a cover letter with audition packet that details your experience and goals in the field of early music. Early Music America and Opera America also provide scholarships. Please consider contacting your local arts and cultural societies about possible funding.
As opera performers, singers must have complete awareness of their instruments, both voice and body, in setting themselves free to inhabit the characters they portray. At Haymarket, we are uniting two awareness methods -- Feldenkrais Awareness through Movement® and Viewpoints technique for actors -- to help singers free their physical instruments. We then use this awareness and focus it through the lens of baroque theatrical movement and gesture. In addition, through vocal masterclasses focused on the particular opera we choose and its style of performance, we can unleash the singer's potential to unite the voice and body in music. The goal is that through an advanced awareness, the actor seems to be creating the music he or she sings, rather than reacting to it.
- Drew Minter, Stage Director
SOC Alumni Testimonials
HOC's Summer Opera Course is unique in its focus on the body and how we can use it expressively as singers of early music. We singers are often told that the demands of opera are becoming more and more physical and that audiences are becoming more visual, and yet it is hard to find summer programs that really tackle those things in a comprehensive way. Between the Feldenkrais and the work with Drew Minter on Baroque gesture, I really grew a lot in my understanding of how to be an effective performer head to toe. In addition to that, the musical experience was made incredibly satisfying by the top-notch faculty who coached us and by the high level of the other students in the group. It was a wonderful opportunity to learn a role in an environment that was both nurturing and that pushed us to grow.
- Emily Hughes, soprano
The Summer Opera Course opened my eyes to the pristine beauty and drama of early opera traditions. Learning from true masters of their fields, I left the program much more confident as a performer and inspired as a lover of early music.
- Ari Bell, bass
Craig Trompeter, Program Director
Artistic Director Craig Trompeter has been a musical presence in Chicago for more than twenty years. As an acclaimed cellist and violist da gamba he has performed in concert and over the airwaves with Second City Musick, Music of the Baroque, the Chicago Symphony, Lyric Opera of Chicago, Chicago Opera Theater, the Cal Players, the Oberlin Consort of Viols, and Great Lakes Baroque. He has performed at the Metropolitan Museum of Art, the Art Institute of Chicago, the Glimmerglass Festival, the Brooklyn Academy of Music, and the Valletta International Baroque Festival in Malta. He has appeared as soloist at the Ravinia Festival, the annual conference of the American Bach Society, with the Chicago Symphony Orchestra, and with Music of the Baroque. Trompeter has recorded works of Mozart, Biber, Boismortier, Marais, Handel, Greene, Henry Eccles, and a potpourri of Elizabethan composers on the Harmonia Mundi, Cedille, and Centaur labels. As a modern cellist, he was a founding member of the Fry Street String Quartet. He premiered several chamber operas by MacArthur Fellow John Eaton, performing as actor, singer and cellist. Most recently he served as Music Director for Francesca Caccini's opera La liberazione di Ruggiero dall'isola d'Alcina at Utah State University. He has taught master classes at his alma mater, the Cleveland Institute of Music, Grinnell College, and the Chicago Musical College. In 2003 he founded the Feldenkrais® Center of Chicago where he teaches Awareness Through Movement® andFunctional Integration®. He has given Feldenkrais workshops throughout the nation in universities, music conservatories, and dance studios.
Drew Minter, Stage Director
Drew Minter debuted nearly four decades ago in both Europe and New York and has been regarded as one of the world's most renowned countertenors ever since. He appeared in leading roles with the opera companies of Brussels, Toulouse, Boston, Washington, Santa Fe, Wolf Trap, Glimmerglass, and Nice, among others. A recognized specialist in the works of Handel, he has performed frequently at the Handel festivals of Göttingen, Halle, Karlsruhe, Maryland and sung with many of the world's leading baroque orchestras, including Les Arts Florissants, the Handel and Haydn Society, Philharmonia Baroque Orchestra, Freiburger Barockorchester, and as a guest at festivals such as Tanglewood, Ravinia, Regensburg, BAM's Next Wave, Edinburgh, Spoleto, and Boston Early Music; other orchestra credits include the Philadelphia Orchestra, the San Francisco Orchestra and the St. Paul Chamber Orchestra. Mr. Minter was a founding member of the Newberry Consort and My Lord Chamberlain’s Consort, and has sung and played early harps often with ARTEK, the Folger Consort, and Trefoil, the medieval trio he co-founded in 2000. He teaches voice, choir and the opera workshop at Vassar College. For over two decades, Mr. Minter has directed much opera in America and Europe, and was founding artistic director of Boston Midsummer Opera from 2006-2011. His production of The Play of Daniel, premiered at the Cloisters in 2008, has been an annual event of the New York Christmas season as part of the Twelfth Night Festival at Trinity Church Wall Street.
Nigel North, Lute
British lutenist Nigel North has been sharing music with audiences around the globe for nearly 30 years. North is a former faculty member of the Guildhall School of Music & Drama in London and the Berlin Musik Hochschule in Germany. As one of the world’s leading lutenists, he has worked with many premier baroque ensembles and was a founding member of the ensemble Romanesca. North has produced numerous recordings, including a series titled Bach on the Lute.
David Schrader, Keyboard and Performance Practice
David Schrader is a musician of wide-ranging interests and has performed music from the middle ages to the present, although he focuses in particular on historically informed music for the harpsichord, the clavichord, the organ, and the piano. Mr. Schrader holds degrees from the University of Colorado College of Music and from Indiana University, where he also earned the Performer's Certificate for distinguished performance on the organ.
Schrader has been active in Chicago's musical life for over thirty-seven years—for thirty-five of those, he served as the organist for the Church of the Ascension, who liturgies command a national reputation for musical integrity. He has performed many times for WFMT radio in the Levin Studio, including a complete traversal of Mozart's keyboard sonatas. He has also played with Music of the Baroque, Baroque Band, the Rembrandt Chamber Players, and the Newberry Consort. He has been a soloist with many orchestras in the US and Canada, most notably with the Chicago Symphony Orchestra on a number of occasions.
Mr. Schrader has made over twenty recordings for Chicago's Cedille Record label and has also recorded for London, CRI, Centaur, and Crest. He is a Professor of Music at the Chicago College of the Performing Arts at Roosevelt University, where he teaches historical performance practice among other disciplines. He has appeared as a soloist for four National Conventions of the American Guild of Organists, and has performed in England, Spain, Italy, France, Mexico and Japan.
Mr. Schrader lives in Chicago with his husband, Patrick Donnell and four cats: Sophie, Lizzie, Alice, and Ralph.