VoiceWorks Study Weekend: Eight American Greats

17–18 January 2026 – Winsham, Somerset, UK.

A two-day exploration of American art song in all its forms — lyrical, gritty, expansive, elegant. Studying within a small group with space to work deeply and attentively on repertoire you choose.

Who’s in the Lineup?

Here are the eight composers we’ll be focusing on across the weekend. They span more than a century of American musical life, and each one offers something distinctive — in style, in language, and in what their songs ask of the singer.

Amy Beach
A prodigious talent and the first American woman to gain serious recognition as a composer of large-scale classical works. Her songs are elegant, expressive, and firmly rooted in the European Romantic tradition — but with a freshness that’s all her own.

George Gershwin
Bridging the worlds of classical, jazz, and popular music, Gershwin brought rhythmic vitality and natural lyricism into the classical sphere. His songs sparkle with character and often invite the singer to play with style and phrasing.

Kurt Weill
A German-born composer who made America his home, Weill brought a sharp theatrical instinct to his American songs. There’s grit, drama, and political edge here — as well as opportunities for real vocal clarity and text work.

Aaron Copland
Often called the voice of American classical music, Copland captured a sense of openness and spaciousness in his writing. His songs are direct, earthy, and sometimes deceptively simple — with plenty of room for nuance.

Samuel Barber
Barber’s songs are a gift to singers: richly lyrical, beautifully set, and emotionally resonant. He brought a refined sense of vocal line to American music, always attentive to the natural rhythm and shape of the text.

Leonard Bernstein
A true polymath — conductor, composer, pianist, educator — Bernstein’s songs are vibrant, witty, and full of personality. He drew freely from jazz, theatre, and classical sources, demanding both agility and presence from the singer.

Carlisle Floyd
Best known for his operas, Floyd’s vocal music is steeped in Southern storytelling. His songs have dramatic weight and emotional bite, with a clear connection to language and character.

Ned Rorem
One of the most prolific American song composers, Rorem wrote with charm, intelligence, and a deep understanding of the voice. His work often feels personal — reflective, thoughtful, and grounded in poetic text.

What you'll be preparing

You’re invited to bring up to four songs, each by a different composer from the main lineup. Think about contrast when you’re choosing: this is your chance to explore a range of styles, moods, and vocal demands — not all slow, not all jazzy, not all minor key. The idea is to stretch your repertoire thinking and to build something you can carry forward beyond the weekend.

Waiting in the wings...

There are a few composers who didn’t make the main list during research, but are very much part of the bigger picture. Florence Price, Stephen Foster, and Charles Ives are all there in the wings — ready to be called upon if something in their writing truly speaks to you.

Consider them your wild cards: if one of their songs feels like an essential part of your next step as a singer, you’re welcome to swap one in.

Ready to join me?

How to Take Part / Sign Up

Singers
The full study weekend fee for singers is £250. To take part, simply choose your repertoire carefully (up to four pieces, no repeats by the same composer), and come prepared to dive deep. Places are limited to a maximum of 5 to keep the working group focused and connected.

Observers
Observers are very welcome to join us in the Jubilee Hall, on Sunday 18th January.  You’ll not simply be ‘watching’, your presence matters. Also, if you’re not ready to sing this time, you can still take part in the learning by attending as an engaged observer. 
Observer Day passes are available at £20 per day.