Summer Opera Course 2017
L’Orontea by Antonio Cesti

May 27 - June 3 at Roosevelt University

Public performance of Cesti's L’Orontea (1656)
June 3rd at 3:00 pm at Roosevelt University’s Ganz Hall

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 

How to apply for SOC 2017

Interested young vocalists should send curriculum vitae to along with two high-quality sound files of 17th- and 18th-century Italian repertoire (1600 – 1800). It is recommended that you include a selection with recitative. Recordings may be submitted at either A=415 or A=440 pitch levels.

Deadline for application material: March 1st, 2017

Applicants will be notified with results by March 15th. Accepting artists must submit a $400 deposit by April 1st to be enrolled. 

Course dates: May 27 – June 3

Tuition: $850

Low-cost dormitory housing will be available to participants. Tuition includes a Chicago Architecture Foundation boat tour excursion.

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


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.

Craig Trompeter, Music 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.

Michael Beattie, Vocal Coach
Michael Beattie has received international attention as a conductor, keyboardist, and vocal coach specializing in the music of the Baroque period. For Boston’s Emmanuel Music, he conducted Handel’s Ariodante, Bach's St. John Passion, the complete Bach motets, and more than one hundred Bach cantatas. Other conducting engagements have included Purcell’s Dido and Aeneas (Glimmerglass Opera), Handel’s Rinaldo and Rodelinda (Pittsburgh Opera), and Teseo (Chicago Opera Theater). He will return to Pittsburgh in 2017 to conduct Handel’s Riccardo Primo. A highly regarded keyboard player, Mr. Beattie has performed with the Boston Symphony Orchestra, the Saint Paul Chamber Orchestra, Boston Baroque, the Handel and Haydn Society, Les Violons du Roy, and the Mark Morris Dance Group. He toured internationally with director Peter Sellars: as Assistant Conductor for the Mozart/Da Ponte cycle and as organist for staged Bach cantatas with Lorraine Hunt Lieberson.  He has been on the faculties of the Tanglewood Music Center and the Walnut Hill School and is currently a Teaching Associate at Boston University. He has recorded for KOCH International Classics and Nonesuch records.

Alessandra Visconti, Italian Language Coach
Alessandra Visconti was born in Beirut, Lebanon and grew up in Rome. Her academic background includes studies in comparative literature at the University of Venice, a degree in Historical Performance at the Mannes College of Music in NYC and an MA in Applied Linguistics at the University of Illinois in Chicago. She has performed throughout the US, Europe and Japan and can be heard on critically acclaimed recordings of medieval, renaissance and baroque music. She coaches operatic diction at the Chicago Opera Theater and the Ryan Opera Center at the Lyric Opera of Chicago, and has performed with the New York Choral Artists, Musica Sacra, the Newberry Consort, Music of the Baroque, Schola Antiqua of Chicago and the Beyond the Score series with the Chicago Symphony Orchestra. She has published two Italian language manuals with McGraw-Hill and is currently doing research on the acquisition of Italian by speakers of Spanish.


*This is not a function of Roosevelt University.