We’ve asked singers, teachers, students, parents, and judges at the Classical Singer Convention in Chicago, IL this weekend to write about their experiences. The following is from Darin Adams of Bridgelight Arts, the voice teacher of Competition Participant Vincent Grosso.
Here’s a scene you wouldn’t typically expect at a classical singer convention master class: the instructor, Dr. Diane Reich, trading her heels for sneakers to engage in a spontaneous “air basketball” game with a student mid-Schubert’s “Ständchen.” Nor would you imagine a group of aspiring opera singers breaking into freestyle dance, with Dr. Reich leading the charge in what appeared to be a mix of the twist and that iconic “Pulp Fiction” dance, all while a soprano tackled “Una Donna a quindici anni.” Unconventional? Absolutely. But witnessing the vocal transformations Dr. Reich unlocked through this seemingly playful approach, you couldn’t help but be captivated. I certainly was, and so was everyone else in attendance.
I accompanied my student, Vincent Grosso, a talented 17-year-old bass-baritone from New Jersey, to the convention. Like most teenagers, Vincent was initially hesitant about a master class that integrated dance and movement into vocal training. However, after meeting Dr. Reich, he embraced the unconventional methods, a decision we both are incredibly grateful for.
Dr. Reich quickly pinpointed that Vincent’s rendition of Schubert’s “Ständchen” was somewhat restricted by the song’s delicate, legato nature. His voice was becoming constricted, particularly in the passaggio and higher register. To address this, she had him sing the piece again while engaging in a lively imaginary basketball scrimmage – dribbling, shooting, passing, stealing, and running. At one point, she even playfully boxed him out, prompting a three-point jump shot as he reached the F on the phrase “jades weiche hertz.” The result was astonishing: his voice soared with newfound strength and freedom.
Following their energetic scrimmage, which Dr. Reich likely won, Vincent performed the song again while visualizing their basketball game. Remarkably, he maintained the enhanced sound quality and vitality of the basketball-inspired version, even while standing still and relaxed. Dr. Reich explained this phenomenon as mentally-accessed muscle memory, drawing a parallel to downhill skiers who visualize their runs to improve performance, a technique with measurable effects on their muscle engagement. This theory demonstrably applied to classical singing, and not just for Vincent.
Across the board, each singer in the class exhibited tangible vocal improvements through Dr. Reich’s integration of physical and visualized movement. It was fascinating to observe the versatility of her technique in addressing diverse vocal challenges. Elisabeth Yates, a vibrant young soprano with a bright, agile voice, performing Argento’s “Spring,” received almost contrasting movement coaching compared to Vincent. While her initial performance was beautiful, it lacked grounding and core support. Dr. Reich guided her through Tai Chi movements during her second rendition, providing gentle physical resistance as Elisabeth sang. Suddenly, even the staccato and rapid sections gained richer tone, depth, and stability.
The impromptu dance party, set to Mozart’s “Una donna…,” was instrumental in helping Melanie Ross loosen her physical gestures, resulting in a more vibrant and energetic vocal delivery. Gabrielle Johnson, while singing the poignant “Solvejg’s Song,” was instructed to hold a pyramid-like stance while performing quad exercises. What had initially sounded somewhat thin in the melody suddenly blossomed into a more mature and stylistically appropriate sound, enriched by a more consistent vibrato, all without any strain.
Dr. Reich possessed an uncanny ability to discern the optimal movement approach for each student. For Elise Trejo, performing Handel’s “As When the Dove,” she opted for a more dance-inspired, active strategy. Elise, who conveyed the piece beautifully through her eyes and facial expressions, tended to freeze certain arm gestures and postures, leading to stagnant support and breath creeping into her tone. However, as she danced (remarkably well, I might add), the excess breath dissipated, and her support became dynamic and engaged.
The masterclass was undeniably a success. The students were visibly grateful for Dr. Reich’s willingness to shoot hoops, move around the room, dance the tango, and even incorporate martial arts-inspired movements to help them sing with greater strength, clarity, health, and expressiveness. It makes you wonder why we’re ever surprised by the constant stream of innovative ideas emerging from the master classes at the Classical Singer convention. When you gather such a concentration of talent and creativity, vocal “aha moments” are inevitable. Dr. Reich certainly delivered hers with exceptional flair and, if I’m not mistaken… jazz hands! After experiencing such a transformative masterclass, the energy and vocal freedom it unlocked could make you feel like you could’ve danced all night – and sung even better for it!
Darin Adams is a singer, composer and voice teacher in New York City. He currently has students in nearly every Broadway show and National Tour. Darin runs a non-profit company called Bridgelight Arts that provides faith-informed mentorship and training to professional artists and faith-inspired production in film, theater, recording and other media.
