Voices of Summer is devoted to the enhancement of interpretive skills.
Bringing vocal music vibrantly to life relies on a skill rarely taught in universities and conservatories, namely the emotional preparation of the texts of art song, oratorio, and opera as theatrical monologue.
This intensive course asks operatically trained singers to divorce the text from the setting provided by the composer and - using the vocal-technical resonance of operatic singing - declaim and act the texts until a personal connection is formed with the words. This skill amplifies the choices made by the composer as well as providing an interpretation unique to the individual performer.
Faculty
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Myron Myers
Bass singer, Grammy-nominated, concerts in Lincoln Center, Kennedy Center, Carnegie Hall, with conductors such as Robert Shaw, Marin Alsop, Leonard Slatkin, recordings with Telarc, Musical Heritage Society, ABC. Taught in vocal programs at the university level for 20+ years. Click the “Archive” tab above to experience more of Myron’s illustrious career.
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Pedro Yañez
Internationally known pianist and coach with credits at L’Opéra National de Paris, Lyric Opera Chicago, Dallas Opera, Santa Fe and Colorado Operas, and Los Angeles Opera, where, among his many duties, he was Placido Domingo’s coach and pianist.
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Brian Whelan
With a Physical Therapist Assistant degree and a Kinesiology background from the University of Illinois at Chicago, Brian has built a career helping people move and feel better. He gained experience working at Loyola Medicine, Edward J. Hines VA Hospital, and West Suburban Medical Center, (currently Athletico United Center). As an APTA DEI Scholarship winner, Brian is dedicated to promoting inclusivity to making physical therapy more inclusive and accessible.
What does “voices of summer training” look like
The video below is an illustration of the process, featuring Schubert’s “Der Tod und das Mädchen.”
“Music, though the language of the emotions, can only arouse them in a vague and general manner. To express any particular feeling or idea we must make use of words.
The pupil must read the words of the piece again and again till each finest shadow of meaning has been mastered. He must next recite them with perfect simplicity and self-abandonment. The accent of truth apparent in the voice when speaking naturally is the basis of expression in singing. Light and shade, accent, sentiment, all become eloquent and persuasive. The imitation of instinctive impulse must, therefore, be the object of this special preparation.
— Manuel Garcia, “Hints on Singing,” 1894
The last recital of Myron Myers, “Opus 72,” in 2020
13 - 26 July 2025
Greater Expression in Singing
Explore the expressive power of portamento and tap into greater artistry in interpretation. $2500 for the 2025 session.
Listen to Voices of Summer Alumni:
“At that point, I’m looking at a poem. I’m trying to understand the point of view of the person behind the words. I want to understand his emotions. Then I start speaking, not singing the words, so I can experiment and get the right inflections. When I get with the orchestra, I sing the words without a microphone first, so I can adjust the way I’ve been practicing to the arrangement. I’m looking to fit the emotion behind the song that I’ve come up with to the music. Then it all comes together. You sing the song.”
For more comments about text preparation from Maria Callas and Toscanini, and concerning how Kent Nagano prepared his Wagner cycle, please go to the Archive under Course Documents.
Interested in joining us?
Please submit your resume and an audio or video audition including two examples of your singing preferably in French, German, or Italian.