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Sing Joyfully 2025: Mozart at the Helm

A Voice School Workshop  Weekend ~ in collaboration with Mozart 

15–16 November, The Ritchie Hall, Chandler’s Ford, Hampshire, UK

This page gathers everything from the Sing Joyfully 2025 weekend with Mozart: the 3 livestream recordings, transcript notes, and a general recap of our unrecorded Saturday afternoon work. A reference point and record for us all.

Why Mozart? 

Mozart’s music carries this quality at every level, not just in his comic operas, but in the poised detail of his phrasing, the economy of his expression, and the unmistakable presence of a mind that was always alert. His wit didn’t show off; it illuminated.

You can hear it in the vocal writing; lines that appear simple at first glance, but turn out to be exacting in rhythm, breath control, and nuance. He offers you a tune, then asks you to refine your thinking with every phrase. Sometimes the writing feels natural and flowing; sometimes it places you on a tightrope. Always, it’s intelligent.

Singers often sidestep Mozart, and with good reason: his music demands accuracy, poise, and stamina. There’s nowhere to hide. But that’s exactly why he’s so essential. Mozart sharpens every corner of your technique, breath control, clarity of line, intonation, diction, rhythm, and musical imagination. He teaches you to be exacting without ever sounding stiff, expressive without being indulgent. His writing reveals what’s working (and what’s not) with a kind of musical honesty that is less about judgment and more about growth. Facing Mozart is part of the journey.

Three Languages, Three Traditions.

Italian arias and ensembles.
German Lieder.
Latin sacred works.

These three strands shaped the weekend’s sessions and a structured way into Mozart’s vocal solo and small ensemble writing.

Below is a clear record of the weekend: each livestream followed by its session notes, with the Saturday-afternoon recap included for completeness. Use it as a reference, a reminder, or a place to pick up the thread again.

Sing Joyfully 2025 – With Mozart at the Helm

Day One

Livestream One: Overview (click on the image above to watch the livestream recording on YouTube.)

This opening session of Sing Joyfully 2025 focussed on interpretation, diction, and musicianship through selected vocal works by Mozart — Ave Maria, Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte, Das Traumbild, and excerpts from the Mass in C Minor, the Coronation Mass, and The Magic Flute.
The atmosphere was exploratory and supportive: part rehearsal, part masterclass, and part contextual study. Participants included Sophie, Sue, and remote participant Steve, with each singer performing and reflecting on their pieces while Gillian offered technical and interpretative guidance.

Chronological Summary

00:00 – Opening and setup (the quality of the WiFi connection was poor during this session.)
Gillian welcomes everyone as the live stream begins, adjusting the camera and lighting and greeting participants. She explains the session’s aim — to explore Mozart’s vocal writing in context — and mentions that Ave Maria will open the work for the day.

03:30 – Ave Maria (Opening exercise and warm-up)
After a short warm-up using the round Harvey Maria, Gillian discusses the importance of space, resonance and presence in the room. The group briefly references Ave Maria as a starting piece, using its sustained lines and purity of tone to centre breath, pitch, and phrasing before moving to the Lieder.

05:00 – Sophie’s song: Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte
Sophie introduces her chosen Mozart Lied. Gillian explains its origin: a 1787 setting of a text where Luise burns her lover’s letters. Together they unpack the emotional meaning — pride, pain, and lingering affection — and discuss how to convey this in tone and diction. Emphasis is placed on clear German articulation, textual understanding, and rhythmic exactness within Mozart’s classical restraint.

07:20 – First run-through and interpretative work
Sophie sings her first take. Gillian comments on the acoustic challenges of the space and on balancing projection with vocal freedom. They explore the contrast between controlled bitterness and lyrical resignation, encouraging Sophie to “let the words spit when they need to” but retain the musical line. Attention is given to pacing and emotional clarity.

13:30 – Refining detail and emotional tone
Further discussion on the character of Luise: is she bitter, humorous, or quietly defiant? Gillian emphasises that Mozart’s style demands truthfulness and economy — emotional honesty without indulgence. Practical suggestions include varying colour and attack, and keeping rhythmic discipline even under strong feeling. The issue of singing with a fixed backing track versus live accompaniment is also discussed.

18:00 – Sue’s song: Das Traumbild
Technical rearrangements as Sue prepares. Gillian introduces Das Traumbild, composed in Prague in 1787. The song’s dreamlike quality and imagery — a vision of lost love and memory — are described. Sue explains that she feels a new comfort with the German, and the text’s direct simplicity appeals to her. Gillian notes that many singers perform only verses one and four to shape the musical arc effectively.

24:30 – Rehearsal and technical exploration
Sue sings through her first verses. Discussion follows on pitch accuracy, vocal onset, and how to balance the purity of tone with emotional intimacy. Gillian works with her on the opening e-flat, exploring breath control, vowel formation and mental preparation for entry. They examine the interplay between the piano line and voice, and how subtle harmonic shifts affect colour and phrasing.

39:40 – Historical and emotional context
Gillian shares background on Mozart’s life in 1787 — a year of deep loss and extraordinary productivity. She notes that Mozart and Constanze endured the deaths of several children, and that Das Traumbild, with its sense of longing and tenderness, may reflect that reality. The group considers how understanding this context informs performance, turning sympathy and historical knowledge into expressive truth.

49:40 – Duet: Domine Deus from the Mass in C Minor, K.427
Sophie and Sue join together for this movement. Gillian outlines the Mass’s background — written in 1782–83 for Constanze, intended for her to sing the soprano solos. The singers run through the duet, followed by feedback on precision, tied notes, rhythmic unity and breathing. Gillian highlights the importance of listening between parts and trusting the shared pulse.

55:15 – Ensemble refinement
Detailed work on bar entries, dotted rhythms and harmonic balance. Discussion of how to maintain equality between voices and accompaniment, and how to “trust the rhythm so that freedom can emerge from structure.” Gillian offers reminders about clear vowel alignment and awareness of harmonic changes.

1:09:00 – Ornamentation and performance practice
Gillian introduces stylistic guidance: trills in Mozart’s vocal music start on the upper note; short dotted rhythms should remain tight and buoyant. Both singers practise refining articulation, particularly in rapid passages. The emphasis is on elegance through discipline rather than excess.

1:14:00 – Agnus Dei from the Coronation Mass, K.317
Discussion of this earlier work (1779), written after Mozart’s return from Paris. Gillian notes its lyrical serenity and links it to the Countess’s arias in Le nozze di Figaro. They sing through, adjusting tempo and phrasing. The group agrees that a more measured pace gives room for legato phrasing and expressive poise.

1:26:00 – Interpretative reflection
The singers explore differences between sacred and secular Mozart, recognising that Agnus Dei calls for humility, simplicity and flowing line rather than operatic display. Gillian underlines the value of breath planning and letting the tone “bloom naturally within the harmony.”

1:42:00 – Die drei Damen Trio from Die Zauberflöte
To close the session, the group runs through the lively “Three Ladies” trio. There is light-hearted confusion over score layout and interjections, but it provides an energising finish. Laughter ensues as they mix English and German, noting the challenges of page turns and overlapping lines.

1:52:00 – Closing discussion and next steps
Gillian ends the livestream and plans a follow-up discussion via Whereby to listen to Davide Penitente. Participants reflect on the day’s work — the intensity, fun, and musical insights gained — and look ahead to continuing the Mozart exploration in Session Two.

Key Insights / Teaching Points

  • Text and tone: Emotional truth in Mozart lies in simplicity, clarity and diction — the feeling must serve the form.

  • Acoustics: Each room demands vocal adjustment; balance resonance and clarity rather than forcing sound.

  • Precision and passion: Secure rhythm and pulse allow expressive flexibility.

  • Style: Trills begin from the upper note; dotted and tied rhythms must stay exact.

  • Musical partnership: When singing with fixed accompaniment, internal pulse replaces the freedom of a live pianist.

  • Historical understanding: Awareness of Mozart’s life circumstances enriches interpretation.

  • Ensemble awareness: Shared listening and breathing create unity between voices.

  • Sacred versus secular style: Different emotional energies — devotional restraint versus personal expression — both grounded in classical balance.

Notable Quotations

  • “Apply the precision, but be passionate.”

  • “You have to let the language really spit out the emotion.”

  • “Mozart would never romantically slow things down.”

  • “The trill starts from the upper note during this period — always.”

  • “It’s the intricacies that catch the singer out.”

  • “Trust the rhythm so that freedom can emerge from structure.”

Practical Actions / Recommendations

  • Continue practising Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte with live accompaniment to refine tempo and diction.

  • For Das Traumbild, rehearse onset accuracy and pitch stability; focus on mental preparation for the first note.

  • Practise trills beginning from the upper note and maintain rhythmic tightness in dotted figures.

  • Rehearse Domine Deus with metronome to internalise shared timing and tied-note accuracy.

  • Explore Agnus Dei at a slower tempo, prioritising serene phrasing and sustained legato.

  • Review Die drei Damen score layout to clarify cue points and overlapping dialogue.

  • Reflect on the 1780s context of Mozart’s life to deepen interpretative choices and emotional authenticity.

Sing Joyfully 2025 - with Mozart at the Helm

Day 1: Session 2

Supplementary Notes (Unrecorded)

This session unfolded more informally than the live-streamed work earlier in the day. With Steve unable to join the weekend, we took the opportunity to explore additional arias and duets that Sue and Sophie were keen to try. It became a relaxed and productive “open floor” of study, with space to experiment, revisit ideas, and test interpretative choices.

Ah guarda sorella – Così fan tutte

We took the opportunity to run Ah! Guarda sorella with the backing track. The first one was far too fast to be usable, so we found a steadier version that immediately made the duet more workable.

Parto, parto – La clemenza di Tito

Sophie then took the chance to sing Parto, parto without the score. This was a personal challenge, and although she dipped into the music once or twice, it opened the door to something new.
For the first time, we could see the aria beginning to lift off the page. Her line had more freedom, the phrasing became more continuous, and the emotional tension of the scene began to appear without needing to be imposed. It was a significant step in her study of the piece.

Dove sono – Le nozze di Figaro

Sue gave Dove sono another full run. The purpose was simply to revisit the aria, feel where it currently sits vocally, and see how it behaved after the work done during the morning. It was a chance to refresh the musical arc and give the piece another outing in the room.

Three Ladies ensemble was not secure enough yet for meaningful stagework. It would have caused confusion, so across the weekend we chose instead to focus on accuracy, musical clarity, language and what Mozart puts directly on the page.

Post script: These notes are drawn from my own memory of the afternoon rather than a recording. If either of you remembers something differently or wants to add an extra detail, please let me know. They are simply here to complete the archive and give us all a clear picture of what we covered.

Sing Joyfully 2025 - with Mozart at the Helm

Day 2: audio

Reflections — Sunday Morning Conversation
(A behind-the-scenes discussion at the start of Day 2)

On the morning of Sunday 16 November, before the first Sing Joyfully 2025 live stream of the day, Gillian met with Sue and Sophie to talk about the previous day’s music-making. This 20-minute conversation offers an open, reflective insight into how the singers experienced the session — their thoughts on Mozart’s music, duet work, accompaniment, and the process of learning itself.

There’s no video here, but what you’ll find below is the full texture of their exchange — a snapshot of shared artistry, self-discovery, and joyful collaboration. (The audio recording will be shared with Sue and Sophie separately as a resource in their first 1:1 coaching session beyond SJ25)

Overview: 

It’s an informal yet deeply thoughtful conversation between Gillian, Sue, and Sophie. The tone is calm, reflective, and collegial — almost like a debrief circle after an intense workshop day. The discussion explores how everyone is feeling vocally and mentally, what’s been learned so far, and where to go next. It also contains genuine “testimonial” moments: open, spontaneous praise of the process, self-insight, and enthusiasm for continued growth.

Key Themes & Topics

1. Vocal Warm-ups and Acoustics

Sophie opens by praising the early-morning warm-up exercises, noting how they helped her adjust to the room’s acoustics and overcome initial “under-singing.” Gillian affirms how quickly she adapted once given direction. This sets the tone for a reflective, growth-focused conversation.

2. The Joy of Duet Work

Both Sophie and Sue express excitement about their duet progress — particularly the Domine Deus from Mozart’s C Minor Mass.

  • Sophie speaks of the “connection” she felt even while tied to the score, describing the experience as “a big excitement.”

  • Gillian links this to future performance planning, encouraging them to include duet repertoire at upcoming recitals such as Love Your Voice Day 2 with accompanist Geraldine.
    Sue and Sophie agree enthusiastically — these duets, they say, feel alive and full of potential.

3. Working with Accompaniments

Sue offers a rich reflection on accompaniment practice:

  • She’s realised she has withdrawn too much from using backing tracks because of earlier frustrations (“I get tricked when the accompaniment doesn’t play your line”).

  • The group discusses how to strike a balance — to learn both independence and responsiveness.

  • Sue also comments on how dramatically tempo changes her singing experience: comparing the Agnus Dei piano version with an orchestral track, she found the difference “completely stunning.”

Gillian reinforces that discernment about tempo and style is part of artistic maturity — and that singers must learn to negotiate tempo with accompanists, not simply follow passively.

4. Backing Tracks vs. Live Musicianship

They explore the limits of backing tracks.

  • Gillian stresses that while they’re excellent for practice, real artistry comes alive in collaboration with a sensitive accompanist.

  • The group recalls past experiences with accompanists — some inspiring, others less capable — and agree how rare it is to find someone who combines competence with empathy.

  • There’s a wistful moment when Gillian recalls a “singer’s retreat in 2013” and a pianist who wasn’t quite up to the task — a gentle reminder of the value of genuine musical partnership.

5. Vocal Health and Technical Growth

After a long day of singing, both singers confirm they feel vocally fine. Sue brings up another personal learning point:

  • Reintegration issues: even after drilling tricky intervals from Domine Deus, they can “scoot away” when re-contextualised.

  • She realises she needs to practice transitions and surrounding bars for better retention.

Gillian identifies this as a key musicianship issue — distinguishing between what’s heard and what’s seen on the page. She notes that Sue’s ear sometimes overrides her reading, causing small inaccuracies, and proposes exercises (like identifying chord tones) to strengthen her inner hearing.

6. Developing Musicianship and Self-Awareness

This becomes the heart of the discussion:

  • They agree that “aural training” and “visual accuracy” are critical next steps.

  • Sophie describes the thrill of observing her own learning process — noticing errors, understanding them, then repeating until mastery. She likens it to “falling into the same hole until you finally see it coming.”

  • Gillian shares an anecdote from 1989, comparing old pencil markings in her own score to what she’d do now — evidence of growth through decades of repetition and patient work.

Together, they recognize that consistency and frequency of engagement, not perfection, lead to true progress.

7. Lifelong Learning and Real-World Balance

They touch on juggling music with life — raising children, work, and everyday demands. Gillian recalls practising “piecemeal” during the busiest years, using any spare moment to stay connected to music.
She emphasises the importance of repetition without ingraining bad habits, a sentiment both singers echo.

8. Looking Ahead

All agree that Sing Joyfully has given them a structure and accountability that keeps them learning weekly.
They express gratitude for the continuity of lessons and forward planning — thinking not only about the next performance but about long-term growth.
As the conversation winds down, there’s a palpable sense of motivation: both singers feel more self-aware, technically equipped, and inspired to refine their musicianship further.

Notable Quotes & Testimonial Moments

  • Sophie: “I enjoyed very much the duet… there’s a sort of connection, even though I’m still so music-bound.”

  • Sue: “The difference between the two performances was completely stunning — how I felt about what I was doing changed entirely.”

  • Gillian: “You’re starting to pull out from the darkness the pieces that really work for you.”

  • Sophie: “I’m quite excited to observe myself making mistakes and then getting it right… it’s like falling into the hole repetitively until you finally see it coming.”

  • Sue: “They couldn’t have been embedded — they fled away from me.”

  • Gillian: “This is why musicianship, as one acquires new skills, is great for the brain.”

These could easily form part of testimonial or promotional materials celebrating the programme’s reflective, developmental spirit.

Overall Tone and Takeaways

  • Warm, trusting, collegial atmosphere

  • High self-awareness and mutual respect

  • Deep engagement with process, not just product

  • Clear evidence of pedagogical and emotional growth

The conversation feels like a snapshot of dedicated artists in mid-journey — candid about challenges, proud of progress, and united by shared purpose.

 

Sing Joyfully 2025 

Day 2: 

Livestream Overview (click on the image above to watch the livestream recording on YouTube.)

This session deepened the work begun in Livestream One, developing vocal technique, stylistic awareness and ensemble coordination through selected Mozart pieces. The focus moved from warm-up and tuning refinement to more detailed interpretative and structural work on Ave Maria, Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte, Das Traumbild, and the duet Domine Deus from the Mass in C Minor.

Participants Sophie, Sue, and virtual observer Steve built on the synergy and shared musical understanding established previously. Gillian guided them through phrasing, rhythmic detail, harmonic awareness, and performance psychology — maintaining an encouraging, analytical tone throughout.

Chronological Summary

00:00 – Opening and warm-up
The livestream begins with Gillian setting up the camera, greeting participants, and noting minor technical issues with the Wi-Fi. She explains that the focus will remain on live streaming even if the image quality drops, as audio is the priority. The group begins with gentle vocalisation, exploring early-morning resonance and breath control.

05:30 – Ave Maria – vocal balancing and harmonic awareness
The group sings Ave Maria as a warm-up piece, alternating between humming and full singing. Gillian discusses early-morning “clag” in the voice and the need to reconnect body, breath and onset. She explains how Mozart’s harmony dips “beyond the keynote,” urging singers to internalise an F major triad for tuning stability. The exercise develops awareness of tuning within pure triadic harmony.

10:00 – Standing posture and readiness
Gillian stresses the importance of physical alignment and mental alertness — even when seated. She describes sitting “as if someone important is about to walk in,” to maintain the body’s readiness to sing. This segues into further Ave Maria repetitions with improved flow and resonance.

14:00 – Memorisation and confidence exercise
The singers attempt Ave Maria without looking at the music. Discussion follows about memory, internal rhythm, and how much music is retained when visual cues are removed. Gillian encourages them to “trust what’s coming next” and use closed eyes to focus inwardly. The result is a freer, more centred vocal line. Steve, listening remotely, notes how unified the sopranos sound — “like one voice”.

19:30 – Reflection on ensemble unity
Gillian observes that Sue and Sophie are now achieving real tonal blend — the natural “one sound” that only comes with familiarity and trust. She encourages them to practise with recorded parts to continue internalising intervals and entries.

23:40 – Discussion: Mozart’s discipline and musicianship
Before moving to solo repertoire, Gillian shares her written summary on what makes Mozart a master teacher. His music “exposes everything” — demanding ease, concentration and economy. Breath, onset, line and phrasing must all be shaped by logic rather than indulgence. She describes how his writing “teaches discipline by stealth”.

30:00 – Sophie’s song: Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte
Sophie reintroduces the song, giving its full title and translation. She reflects on yesterday’s progress and hopes for more rhythmic precision. Gillian analyses the rhythmic pulse and bar structure, identifying a typo in one edition and explaining how Mozart’s writing elongates emotion through note length rather than tempo markings. Together they review bar 6 and the importance of aligning with the left-hand bass movement.

42:00 – Emotional and textual depth
They examine how Mozart reflects the text’s turmoil through rhythm and rests. Gillian highlights the phrase Ihr brennet nun — pointing out a small rest that must not be overlooked, as it signifies Luise’s agitation. She explains how Mozart writes emotional states directly into the notation — long notes for reflection, short ones for turmoil. Discussion of translation deepens understanding: burning the letters symbolises purging the lover, yet the heart continues to burn with feeling.

47:00 – Expressive re-run without accompaniment
Sophie performs sections without backing track, focusing on internal pulse and emotional honesty. Gillian encourages her to convey Luise’s mature realisation — “this is ridiculous; burning the letters won’t change the feeling” — through vocal nuance rather than gesture. Emphasis is placed on simplicity, clear articulation (Brent – Lunge), and musical truth.

52:00 – Reflection and context
The group discusses Mozart’s Lieder as a neglected body of work — miniature dramas requiring precision and emotional discipline. Gillian remarks, “Everybody needs Mozart in their lives… he gives you nowhere to hide.” They note how awareness of his life’s turmoil around 1787 enriches interpretation.

53:00 – Sue’s song: Das Traumbild
Sue begins work on Das Traumbild, revisiting it from Session One. Gillian references Paul Hamburger’s notes, recommending that all four stanzas ideally be sung but suggesting Sue focus on one or two for clarity. They discuss the poem’s imagery — a dream vision of a lost beloved — and how its simplicity contrasts with the technical intricacy of the music.

56:00 – Textual and interpretative discussion
Gillian reads the English translation, pointing out the song’s sincerity and romantic melancholy. Sue reflects on the line “Who wound into my hair the rosemary…” as evoking innocence rather than sensuality. Discussion follows on poetic tone, linguistic oddities in verses two and three, and how to handle them musically.

59:00 – Technical rehearsal and rhythmic detail
Gillian coaches Sue on her entry timing and rhythmic precision, focusing on the opening phrase Wo bist du? and the sixth leap to die Szene. She emphasises internal subdivision, dynamic control and vowel shape for the A-flat. Work continues on the “interlude” passages, aligning phrasing with harmonic direction.

1:07:00 – Building confidence and musical memory
Through repetition, Sue gains security with the intervals and phrasing. Gillian compares the climactic leap to “Porgi amor” — same sense of vulnerability and reach. Discussion on the accompaniment’s cadenza-like pauses helps Sue anticipate entries with more assurance.

1:14:00 – Repertoire strategy and comfort
Gillian notes that Das Traumbild sits well in the voice — not too low, with an elegant lyric range suitable for recital programming. They discuss where it could be placed in a programme, balancing vocal stamina and emotional pacing.

1:16:00 – Duet: Domine Deus from the Mass in C Minor, K.427
Focus shifts to ensemble work. Gillian explains key entries and the importance of staying rhythmically alert when one part begins a beat later than the other. She analyses the contrapuntal interplay, where the two soprano lines invert each other. Practice focuses on entries at bars 52–61, managing the seventh leap and breath control through long Deus phrases.

1:28:00 – Coordination and dynamic balance
Sue and Sophie refine their timing; Gillian highlights where voices cross and warns against “borrowing” each other’s notes. Both singers practise holding the line through the R vowel, which tends to destabilise tuning. By the final run, ensemble accuracy improves markedly, with real excitement and lift in the phrasing.

1:31:00 – Wrap-up and reflection
Gillian commends the group for transforming what had seemed “impossible” into a cohesive performance. They discuss contrasts between the duet and operatic writing, noting that Mozart’s sacred style demands precision and purity. The session closes with plans for a post-lunch discussion via Messenger, and Steve remarks, “It’s such a lovely duet with all the interwoven parts.”

Key Insights / Teaching Points

  • Mozart’s writing exposes everything: precision, breath control, and phrasing logic must align perfectly.

  • Internal rhythm: singers must maintain pulse independently, especially with backing tracks.

  • German diction: consonants define expression; rests and note lengths carry emotional weight.

  • Emotional containment: express intensity through musical clarity, not gesture.

  • Ensemble awareness: listen horizontally — both voices are equally active and reactive.

  • Edition accuracy: check scores carefully; minor misprints can distort rhythm.

  • Programme planning: choose songs strategically for tessitura, stamina and pacing.

  • The discipline of memory: singing without score strengthens confidence and connection.

Notable Quotations

  • “Mozart exposes everything — he gives you nowhere to hide.”

  • “Sit as if someone important is about to walk in.”

  • “He slows things down by the note length, not by marking it.”

  • “You don’t need to show us — you need to feel it.”

  • “Everybody needs Mozart in their lives.”

  • “It’s the intricacies that make you think — that’s where the learning lies.”

  • “What started out as looking impossible is actually really good.”

Practical Actions / Recommendations

  • Continue internalising Ave Maria as a harmonic and tuning exercise — practise both sung and hummed versions.

  • For Als Luise die Briefe, focus on rhythmic consistency and respect every rest; rehearse sections without backing track for emotional control.

  • In Das Traumbild, practise bar entries and leaps in isolation; memorise harmonic “landmarks” for confidence.

  • Review editions for errors and clarify bar divisions before rehearsal.

  • For Domine Deus, work from bars 52–68 repeatedly, refining ensemble timing and vowel balance on Deus and Agnus.

  • Strengthen breath planning to sustain long classical lines without tension.

  • Consider programme flow — lighter Lieder early, sacred works later for contrast and vocal pacing.

 

Sing Joyfully 2025 

Day 2 - final session

Livestream Overview (click on the image above to watch the livestream recording on YouTube.)

The fourth and concluding session of Sing Joyfully 2025 brought together the strands of the previous sessions, focusing on refinement, ensemble precision, and interpretative depth. With everyone present, it became an opportunity to explore key ensembles in depth and to allow each singer to select a solo aria to sing through. The focus was on collaborative study, shared listening and technical refinement rather than presentation or stagecraft.

The session covered ensemble work on the Three Ladies trio from The Magic Flute, Sue’s Agnus Dei from the Coronation Mass, the duet Ah! Guarda, sorella from Così fan tutte, and Sophie’s recitative and aria Smanie implacabili che m’agitate.

Chronological Summary

00:00 – 20:00 The Three Ladies Trio — The Magic Flute, Act I
The livestream opens with detailed work on the Three Ladies trio. Gillian, Sue and Sophie rehearse seating, camera position, and ensemble coordination. They concentrate on rhythmic precision, vowel length and clarity of diction while alternating between English and German text. Attention is given to the changing order of entries and how this influences character and pacing. By the end of this section the trio achieves a unified sound and greater musical assurance.

20:00 – 42:00 Sue — Agnus Dei from the Coronation Mass, K.317
Sue performs the Agnus Dei, refining vowel shaping, tone colour and sustained phrasing. Gillian guides her through maintaining composure during the long orchestral introduction and encourages freedom in the middle voice using the “ah-new day” vowel shape. The discussion turns to the importance of balance between serenity and projection. The aria is recognised as a well-suited recital work, both expressive and comfortable vocally.

42:00 – 49:00 Duet — “Ah! Guarda, sorella” from Così fan tutte, Act I
Sue and Sophie rehearse this bright and playful duet, working on conversational phrasing, alignment and text interplay. Sue introduces a steadier alternative backing track, improving the duet’s flow and comfort. Gillian comments on the natural blend of their voices and the balance of humour and sensitivity. The duet proves to be an ideal choice for further development in concert programming.

49:00 – End (≈1:00:30) Sophie — Recitative and Aria “Smanie implacabili che m’agitate” from Così fan tutte, Act I
To conclude the weekend, Sophie sings Fiordiligi’s recitative and aria. Her performance demonstrates stamina and expressive commitment after two days of intensive work. The group focuses on phrasing, breath pacing and the shaping of rapid passages. The aria serves as both a test of technique and an expressive full stop to the weekend’s collaborative study.

Key Insights

  • Ensemble awareness in the Three Ladies trio developed significantly, with clearer rhythmic precision and responsive listening.

  • Sue’s Agnus Dei reflected improved resonance and tonal freedom following earlier technical work.

  • The steadier accompaniment for Ah! Guarda, sorella provided a better framework for musical phrasing and duet coordination.

  • Sophie’s Smanie implacabili displayed confidence and stamina, illustrating progress in projection and interpretive focus.

  • The session highlighted the value of in-person ensemble rehearsal for refining technique and building musical empathy.

Teaching Points

  • The use of text to sustain note length remains essential in Mozart’s ensemble writing.

  • Managing visual poise before the first vocal entry enhances overall stage readiness, even in a study context.

  • Adjusting accompaniment tempo can transform comfort and musical phrasing in duet work.

  • Vocal balance across registers benefits from consistent vowel shaping and supported breath flow.

  • Ensemble clarity depends on shared rhythmic discipline rather than dynamic strength.

Notable Quotations

  • Gillian: “The biggest rule of Mozart is to use the text on the length of the notes — especially when we’re singing together.”

  • Sue: “The difference in tone once I slowed the tempo was completely stunning.”

  • Sophie: “It feels right to end with something that moves — that really says how much we’ve done this weekend.”

  • Gillian: “It’s all very doable … and definitely a keeper for something like March.”

  • Sue: “I found I had time to think about what you said about round shapes and to find more freedom in my head.”

  • Gillian: “How does one look poised and ready without looking signed off?”

Practical Actions and Recommendations

  • Continue refining ensemble timing and text clarity in the Three Ladies trio.

  • Retain Agnus Dei within active repertoire, with ongoing attention to tone and phrasing.

  • Develop Ah! Guarda, sorella further using the steadier accompaniment track; consider exploring light staging when appropriate.

  • Revisit Smanie implacabili to reinforce phrasing and pacing, consolidating breath management across extended passages.

  • Plan future workshops with dedicated stagecraft time to complement the technical and ensemble studies achieved here.

Summary

This final livestream was not intended as a formal performance but as a working session. With everyone present, it provided a valuable opportunity to explore key ensembles in greater depth and to allow each singer to choose a solo piece to sing through. The focus was on study, reflection and shared learning rather than presentation.

Work on the Three Ladies trio consolidated ensemble skills and listening awareness, while Sue’s Agnus Dei allowed her to apply technical work on tone and phrasing. The duet Ah! Guarda, sorella offered a practical study in timing and dialogue, supported by an improved accompaniment track. Sophie’s concluding Smanie implacabili provided space for expressive and technical exploration at the end of an intensive weekend.

Although no stagecraft was attempted during Sing Joyfully 2025, this session made full use of the time the group had together to deepen musicianship, ensemble coordination and interpretive understanding — a fitting conclusion to a weekend devoted to study and collaboration.

End of summary – Sing Joyfully 2025,  (Wrap) 

bringing_history_to_life 

Bringing History To Life 

Digital creator (Instagram)

I take old photos, colourise them and bring them back to life using AI. 

Wolfgang Amadeus Mozart, painted in 1819
This posthumous portrait of Wolfgang Amadeus Mozart (1756–1791) was painted in 1819, nearly three decades after his death. The artist portrayed Mozart in a red embroidered coat with fine lace detail, reflecting the elegance and prestige associated with the celebrated composer.

By the early 19th century, Mozart’s genius had achieved legendary status, inspiring numerous portraits that sought to capture both his brilliance and humanity. Though not painted from life, this depiction remains one of the most enduring images of Mozart, symbolizing the grace and intensity of a man whose music continues to shape classical tradition.

Click the image and enjoy!

Gillian xx