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Subject: Re: Master Class
From: Maxwell Paley <[log in to unmask]>
Reply-To:Maxwell Paley <[log in to unmask]>
Date:Thu, 27 Oct 2016 07:18:05 +0100
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I have also seen it work out well.

I sang for a Hans Hotter class on Lieder and learned a lot in a short time about musical and interpretive possibilities in songs I thought I knew very well.

I didn't sing for it, but I was in the audience for one of the first Schwarzkopf/Legge classes, when she was still very positive, and she was full of insights that I would expect stayed with the singers.

I didn't see one myself, but singer friends of mine told me that Evelyn Lear's classes were excellent.

Nobody goes from obscurity to fame because of master classes, but learnings from them can both deepen and polish a performer, particularly musically and interpretively.

On the other hand, it can be a narcissistic way for a retired singer to get back in front of an audience.

I've seen both.

Max Paley

Sent from my iPhone

> On Oct 27, 2016, at 07:05, R PRADA <[log in to unmask]> wrote:
> 
> I have seen master classes that had a point. Eric Werba did a class on Lieder at the Teatro Colon and his point was to make the song fresh and present. He said there is no such thing as a right or wrong tempo, and that trying to repeat yesterday's performance is a big mistake. It sorted out a lot for me.
> 
> Roberta Peters, when she did the George London Master Class, worked for two days with the singers- no witnesses. Then on the third day the students sang for an audience. It gave them a chance to see how much of what they studied, they actually retained.
> That is a great concept. Nora was most admiring of Peter's ability to teach. I believe it. She knows her stuff better than a lot of people.
> RP
> 
> Sent from my iPhone
> 
>> On Oct 27, 2016, at 12:00 AM, OPERA-L automatic digest system <[log in to unmask]> wrote:
>> 
>> Master Class
> 
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