Artist in Residence Master Class with Dolora Zajick, mezzo-soprano

DOLORA ZAJICK MASTERCLASS PROGRAM
Wednesday, May 5th, 2021 1:00 p.m.
“Va! laisse couler mes larmes” from Werther
Jules Massenet
(1842-1912)
Giada Barney, mezzo-soprano
“Rings ist der Wald so stumm und still” from Zigeunermelodien
Antonín Dvořák
(1841-1904)
Tamsyn Scott, soprano
“Kuda, kuda vï udalilis” from Yevgeny Onegin
Pyotr Il’yich Tchaikovsky
(1840-1893)
Daveon Bolden, tenor
“Quando m’en vo” from La bohème
Giacomo Puccini
(1858-1924)
Claudia Affan, soprano
“Tu, che di gel sei cinta” from Turandot
Giacomo Puccini
(1858-1924)
Kourtney Holmes, soprano
Bio
Hailed as a “force of nature” (Variety), Dolora Zajick has been internationally acclaimed as that rare voice type, a true dramatic Verdi mezzo-soprano, typified by the composer’s most famous and difficult mezzo-soprano roles. With her expressive vocal palette, seamless technique and ability to communicate even the most complex character, Dolora is particularly renowned for her interpretations of Azucena in Il Trovatore, Amneris in Aida, and Eboli in Don Carlo on the world’s greatest stages. She has appeared in opera and concert with some of the foremost conductors of today, which include James Levine, Anthony Pappano, the late Bruno Bartoletti, James Conlon, Daniele Gatti, Valery Gergiev, Lorin Maazel, Charles Mackerras, Zubin Mehta, Riccardo Muti, Michael Tilson Thomas, and the late Mstislav Rostropovich.
In recent seasons Dolora has continued to take on new roles such as Gertrude in Hansel and Gretel, Mary in Wagner’s Der Fliegende Holländer at the Metropolitan Opera in New York, Mrs. Grose in Britten’s The
Turn of the Screw with the Dallas Opera and as Madame de Croissy in Poulenc’s Les Dialogues des Carmelites with the Washington National Opera. She also has premiered two of her own compositions: Roads to Zion was performed at the international gathering to celebrate the life of St. Teresa of Avila and her work commissioned for the National Youth Choral Festival was given its first performance in San Francisco. Roads to Zion was reprised in concert with Spain’s Orquesta y Coro de la
Comunidad de Madrid. Other highlights include performances as Ortrud in a new production of Lohengrin at Madrid’s Teatro Real, a role in which she made her debut at the Los Angeles Opera in 2010, as Zia Principessa in Puccini’s Suor Angelica in Barcelona, as Ježibaba in Dvořák’s Rusalka, as the Countess in Tchaikovsky’s The Queen of Spades at the Metropolitan Opera where, in a single season, she also took on Verdi’s three premier mezzo roles: Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera and
Amneris in Aida. Houston welcomed her as Amneris in Aida and as Azucena in Il Trovatore and Washington National Opera as Adalgisa in Bellini’s Norma.
In addition to her outstanding performance career, Dolora is a passionate vocal pedagogue, having founded the Institute for Young Dramatic Voices in 2006, a vocal training program for large or unusual voices designed to help nurture their development according to their unique needs, and to help these young singers reach the world stage. The institute offers an intensive 3-week summer program of study with leading coaches and voice teachers who understand the nature of large or unusual voices.

[@frankG335]

What an amazing all around technician, musician, teacher, observer, linguist, anatomist... You have to synthesize so many things just to be able to sing this study, and be able to remember and be aware of so many things at the same time. Notice that the student doesn't speak much.

[@langleytw]

Ironic that some of the most technically excellent teaching on the internet has so few views.

[@rebeccadebroglie742]

Truely exceptional. These kids are so fortunate.

[@spiritname]

Fabuleux, très intéressant 👍👍👍👍👍👍👍

[@ЛюдмилаСевастополь-ы4у]

Потрясающая, великолепная Долорес!!! 👏❤💐

[@EcceHumanitatis]

Dolora is such a fine musician.

[@morrighanbond]

This is GOLD!!! Thank you Dolora!

[@EudoraPrice]

😍😍😍😍😍

[@ciociosan]

Yes! Vomitare la voce.

[@frankG335]

My vocal coach says to feel kind of like you're yawning. When my position if correct, she starts to yawn because she's feeling how my placement in her own body as I'm singing. If she starts yawning, I know at least I have that part right. Lol.

[@clefnoteproductions6695]

Kourtney Holmes was my favorite of the singers

[@ОльгаК-ъ1г]

В арии "Куда,куда..." надо правильно ставить ударения в словах и фразах. Вот так - кудА, кудаА, куда вы удалИлись. ...

[@kreese316]

W O W

[@XPRT10R]

OMG 😱

[@beachfanatic2010]

She is too technical which makes a mockery out of singing today because not everybody will get all of the things that she expects the students to understand. I believe singers learn by listening to their voice teachers and imitating them yet at the same time by also embracing their own vocal identity.

[@ninadavid7645]

No she is not too technical at all. There is no mockery being made of singing here at all. Yes, it takes some singers a while to grasp new information. But that is the process. It takes time to sink in. But these singers are having the chance of a life time learning from someone as good (and kind) as Dolora Zajick! Ms. Zajick is an outstanding singer with outstanding training who is giving outstanding instruction. She is just right. Singers need to learn these things. They are basic technique. And they are privileged to be getting this kind of instruction at all. Masterclasses are always intense. And... Singers have their own sound - that is their identity. If they sing with good solid technique what the composer has written their vocal identity will shine forth naturally.

[@beachfanatic2010]

@@ninadavid7645 Dolora is a great voice but a poor technician.

[@roy5515]

Ninadavid, So sorry you missed the point so badly. Opera singing is not “natural”, it competes with full orchestra and big concert hall, sing extreme range. Too technical? Absolutely not. Poor technician? You’re arrogant and not listening. Techniques are basics, without them, there’s no freedom to put one’s own signature in their music. Your claim would have difficulty to apply to any performing arts, like piano playing, gymnastics, dancing etc. no technique, in this case world class technique, no freedom of expression. But I’ve a feeling you’re set in your ways and wouldn’t listen. I wrote to others who read comments to make their decisions.