Mozart: exacting, rewarding, and full of wit.

Why Mozart’s music demands your attention

In Mozart’s Vienna, wit meant more than humour. It was a sign of mental agility, the ability to turn an idea with elegance, to surprise with precision, to reveal something human through restraint. Mozart carried that quality everywhere: in the sparkle of his comic operas, in the stillness of his sacred music, and in the subtle craftsmanship of every phrase. He was playful, yes, but never without purpose — and that spirit is at the heart of Sing Joyfully 2025 in Chandler’s Ford, Hampshire, UK.

The joy and challenge of singing Mozart

That playfulness can mask just how exacting his writing is. In Prenderò quel brunettino, the duet for Fiordiligi and Dorabella in Così fan tutte, the singers must match tone, timing, articulation, and breath as if they were one voice, while also staying true to their characters, who are complete opposites. Fiordiligi is upright, idealistic and careful; Dorabella is impulsive, easily swayed, and mischievous. In performance, the music demands the discipline of a chamber ensemble and the dramatic awareness of seasoned actors.

For me, Mozart has always felt like home. My voice responds well to the clarity he demands, and I enjoy the precision of his writing; the sense that he has already provided everything you need on the page. Sing the notes as he composed them, and the music comes alive. There is a certain logic to his metre, and yet his operas are full of humour and humanity.

My own vocal coach, the wonderful David Harper, often reminded me that before you even reach the music and text in any repertoire, your attention must be fully on your vocal technique. The foundations have to be in place, or at least actively worked on, before you can make a genuine connection with the words and music. Nowhere is this more obvious than in Mozart. Dame Kiri Te Kanawa speaks to this exact point in the interview clip you will find on the Sing Joyfully landing page: the combination of precision and ease is non-negotiable, and it takes all your concentration to achieve it.

What awaits at Sing Joyfully 2025

Over two days in Chandler’s Ford, Hampshire, UK, Sing Joyfully 2025 - with Mozart at the helm - will give us the chance to immerse ourselves in a carefully chosen “banquet” of Mozart’s music across three languages — Italian, German and Latin — drawn from his operas, Lieder and sacred works. We will move chronologically through some of his earlier and later pieces, so that by the end of the weekend, singers will have a richer sense of him as a composer and as a creative personality.

Alongside your own chosen solos, I will be matching singers into ensembles, from duets and trios to short recitatives, so that the weekend offers a complete taste of Mozart’s style. These will be shaped around the voices we have in the room, making sure each singer has a role that suits them, stretches them, and connects them with others in the group.

The sessions will combine solo and small ensemble work, helping you see how different formats require various technical and interpretative skills. Singers are also asked to bring up to two solo pieces related to these genres, and yes, one of them should be a Mozart Lied.

Applications for Sing Joyfully 2025 close on Friday, 19 September, a full eight weeks before the weekend, so I have enough time to curate the repertoire for each singer. I want to ensure that every participant has music that plays to their strengths, challenges them in the right way, and allows them time to prepare with confidence. Beyond application, you will be invited to join The Green Room, my private online group where we will start exploring the music together and sharing ideas ahead of the weekend.

For singers and observers alike

If you are singing, you will work in a group small enough for everyone to be heard, supported, and challenged in the right way. If you choose to join as an observer, you will be more than welcome in the room: you can follow the work closely with a score in hand (I can make these available in advance), take notes, and see the music develop in real time. Many singers find that observing in this way sharpens their own skills and sparks fresh ideas.

Numbers will be limited to keep the work and the group personal and connected. If you would like a taste of what else The Voice School offers, beyond this particular weekend, there is a place where you can take that first step.

Feast your eyes on The Voice School Portal Noticeboard - a veritable foyer and a first step inside what The Voice School has to offer adult classical singers. Here you will find news, resources, and glimpses of opportunities taking shape for the months ahead. It is a place to pause, look around, and sense what might be possible. Much like stepping into a welcoming entrance hall, it invites you to linger, to explore, and to imagine the work, music, and connections that could lie beyond.