At the heart of Chicago, during the Classical Singer Convention, something unexpected unfolded. Forget stuffy formality; imagine a masterclass where opera singers weren’t just hitting notes, but hitting imaginary jump shots and breaking into impromptu dance-offs. This wasn’t your typical vocal coaching session, and that’s precisely why it was so extraordinary. Attendees quickly realized they Could Have Danced All Night and still woken up with improved vocal technique.
Dr. Diane Reich, the innovative instructor at the helm, wasn’t afraid to ditch conventional methods. As Darin Adams of Bridgelight Arts, voice teacher to convention participant Vincent Grosso, recounts, Dr. Reich’s approach was a breath of fresh air, injecting dynamism and sheer fun into the often-serious world of classical singing. Initially skeptical, Adams and his 17-year-old bass-baritone student, Vincent, soon became converts, witnessing firsthand the transformative power of movement in vocal training.
Movement as the Key to Unlocking Vocal Potential
Dr. Reich’s masterclass wasn’t about choreography for performance; it was about tapping into the intrinsic connection between physical movement and vocal freedom. She understood that tension and rigidity in the body often translate to tightness and constriction in the voice. By incorporating dynamic movement, she helped students release physical inhibitions, allowing their voices to resonate with newfound power and ease.
For Vincent Grosso, grappling with the legato demands of Schubert’s “Ständchen,” Dr. Reich prescribed a unique remedy: air basketball. Imagine the scene – a classical masterclass morphing into a basketball court. As Vincent sang, he dribbled, passed, and shot imaginary hoops, Dr. Reich herself joining in the scrimmage. When Vincent reached for the high F on “jades weiche hertz” while shooting a three-pointer, something remarkable happened. The tension in his throat dissolved, and the note soared with unexpected strength and clarity. The physical activity had unlocked a new dimension in his vocal performance. Later, visualizing the basketball game while singing the song standing still, Vincent retained that newfound vocal freedom, demonstrating the power of mentally-accessed muscle memory.
This wasn’t a one-off success. Elisabeth Yates, a soprano with a naturally agile voice, experienced a different yet equally impactful approach. Singing Argento’s “Spring,” Elisabeth’s performance, while beautiful, lacked a certain groundedness. Dr. Reich introduced Tai Chi, providing gentle resistance to Elisabeth’s movements as she sang. This seemingly counterintuitive technique grounded her voice, adding depth and stability even to the most rapid and intricate passages.
The energy in the room became palpable. For Melanie Ross, singing Mozart’s “Una donna a quindici anni,” Dr. Reich orchestrated an impromptu dance party. Freestyle dancing and even a playful twist session helped Melanie shed physical inhibitions, resulting in a more vibrant and energetic vocal delivery. Gabrielle Johnson, tackling the emotionally weighty “Solvejg’s Song,” found herself doing quad exercises in a pyramid stance while singing. This unusual approach banished a previously thin tone, imbuing her voice with a maturity and richness more befitting the piece’s style. Even vibrato improved, becoming more even and controlled.
Elise Trejo, performing Handel’s “As When the Dove,” already captivated with her expressive eyes and facial expressions. However, Dr. Reich noticed frozen arm gestures hindering her breath support, causing air to leak into her tone. The solution? Dance. As Elise moved and danced (remarkably well, according to Adams), her breath support became dynamic, eliminating the unwanted breathiness and enhancing her vocal strength.
A Masterclass That Left Everyone Wanting More
The resounding success of Dr. Reich’s masterclass lay in her intuitive ability to diagnose individual vocal challenges and prescribe movement-based solutions tailored to each student. Whether it was basketball, Tai Chi, a dance party, or even martial arts-inspired moves, her methods consistently broke down physical barriers, leading to tangible and audible vocal improvements.
The students, initially perhaps taken aback by the unconventional approach, were ultimately deeply grateful. They had experienced a masterclass that was not only educational but also liberating and fun. They walked away not just with technical vocal insights, but with a visceral understanding of the body-voice connection. It was a testament to the power of innovative teaching and the boundless potential within each singer when physical and mental freedom are unleashed. Dr. Reich’s masterclass proved that sometimes, to truly find your voice, you just need to dance – perhaps even all night.
