At the Classical Singer Convention in Chicago, something unexpected happened. Forget stuffy classrooms and rigid vocal exercises; imagine a masterclass where opera singers aren’t just hitting high notes, they’re hitting imaginary jump shots and doing the twist. It might sound like chaos, but according to voice teacher Darin Adams from Bridgelight Arts, it was vocal magic, all thanks to the innovative methods of Dr. Diane Reich. Adams, attending with his 17-year-old bass-baritone student Vincent Grosso, witnessed firsthand how Reich’s unique approach unlocked vocal potential in ways that felt as liberating as finding the perfect song you could have danced all night to.
Vincent, initially skeptical of a dance-infused vocal lesson, quickly became a believer. Dr. Reich immediately pinpointed the issue with his rendition of Schubert’s “Ständchen”: the legato piece was causing tension, particularly in his upper register. Her solution? Basketball. Yes, basketball. As Vincent sang, they dribbled, passed, and shot imaginary hoops. During a particularly challenging line, Dr. Reich playfully blocked him, forcing a three-pointer on an F note. The result was astonishing. The tension vanished, replaced by a newfound vocal freedom and strength. This wasn’t just about fun and games; it was about accessing “mentally-accessed muscle memory,” as Dr. Reich explained, comparing it to downhill skiers visualizing their runs. The effect was clear: Vincent could then sing the song standing still, retaining the vocal vitality he discovered during their impromptu scrimmage.
Alt text: Seventeen-year-old bass-baritone Vincent Grosso singing in a classical voice masterclass, demonstrating improved vocal technique through movement.
This wasn’t a one-off trick; Dr. Reich tailored her movement techniques to each singer’s specific needs. For Elisabeth Yates, a soprano with a naturally agile voice performing Argento’s “Spring,” the challenge was different: a lack of grounding. Dr. Reich prescribed Tai Chi, providing physical resistance as Elisabeth sang. This seemingly opposite approach – slowing down movement to enhance a fast-paced piece – worked wonders. Suddenly, even the staccato sections gained depth and stability, proving that sometimes less movement can create a more grounded performance, much like a steady beat that keeps you dancing all night.
Alt text: Soprano Elisabeth Yates practicing Tai Chi movements during a vocal masterclass to improve core support and vocal grounding.
For Melanie Ross, singing Mozart’s “Una donna a quindici anni,” the prescription was a dance party. Literally. Dr. Reich led the room in freestyle dancing, twisting and even mimicking the iconic “Pulp Fiction” dance. This wasn’t just silly; it was strategic. By loosening up her physical gestures, Melanie’s voice became more vibrant and energetic, embodying the youthful exuberance of the aria. It was a reminder that singing, like dancing, is a full-body experience, and sometimes you need to let loose to truly shine, feeling the kind of energy that could fuel a night of dancing to your favorite song.
Alt text: Vocal student Melanie Ross participating in freestyle dance exercises during a masterclass to enhance vocal vibrancy and energy.
Gabrielle Johnson, tackling the somber “Solvejg’s Song,” needed a different kind of physical engagement. Dr. Reich had her perform quad exercises in a pyramid stance while singing. This seemingly strenuous activity transformed her voice. What had been a somewhat thin sound on the melody suddenly gained maturity and richness, the vibrato evening out, becoming more fitting for the piece’s style. It demonstrated how targeted physical exercises can bring depth and resonance to even the most delicate melodies, adding a layer of sophistication like a complex harmony in a song you love to dance to.
Alt text: Singer Gabrielle Johnson performing quad exercises in a pyramid stance during a voice lesson to improve vocal maturity and vibrato.
Even nuanced performance issues were addressed through movement. Elise Trejo, singing Handel’s “As When the Dove,” already conveyed emotion beautifully through facial expressions, but her arm gestures were static, causing stagnant support and breathiness. Dr. Reich had her dance. Surprisingly, Elise was a natural dancer. As she moved, the excess breath disappeared, and her support became dynamic. It was a revelation: sometimes, freeing the body allows the voice to truly take flight, like the soaring melody of a song that makes you want to dance without stopping.
Alt text: Elise Trejo incorporating dance movements into her performance in a vocal masterclass to achieve dynamic vocal support.
Dr. Reich’s masterclass was a resounding success. Students were grateful for her willingness to step outside conventional methods, whether it was shooting hoops, leading a dance party, or demonstrating martial arts-inspired moves. She proved that movement isn’t just an add-on to vocal training; it’s a fundamental tool for unlocking vocal freedom, expression, and power. The Classical Singer Convention, known for its innovative approaches, delivered another “aha moment.” Dr. Reich’s masterclass wasn’t just about singing; it was about finding your groove, feeling the music in your body, and discovering the kind of vocal liberation that makes you feel like you could sing – and maybe dance – all night long.
