I’ve wanted to participate in the Flint School of Performing Arts Concerto Competition ever since my older sister Elizabeth won the competition in 2005. I remember being in seventh grade, sitting in the auditorium watching her play with the orchestra and thinking, “Wow, that looks like fun!”

Of course, as I learned when I began preparing my first concerto last summer, there’s quite a bit of hard work involved too.

After looking through several options in May 2009, my teacher and I decided I would learn the first movement of Camille Saint-Saens’ Fifth Concerto for piano and orchestra http://en.wikipedia.org/wiki/Piano_Concerto_No._5_(Saint-Sa%C3%ABns). Pianist Lilya Zilberstein http://en.wikipedia.org/wiki/Lilya_Zilberstein  had recently performed this work in its entirety with the Flint Symphony Orchestra, and we were both impressed by the haunting lyrical quality of the music, as well as by its fresh novelty – for some reason, this is a concerto with which very few Americans are familiar. (It was nicknamed the “Egyptian” concerto, partly because Saint-Saens wrote it while on vacation in Egypt and partly because of its exotic Middle-Eastern textures.)

 I loved the piece at once, but found it a challenge to bring out the artistic flavor of the music while still doing justice to the technically difficult runs and trills. To perfect the piece, I made major changes to my practice schedule, working two hours a day on the music for much of the summer. (This was a big step up for me in terms of commitment.) Memorizing the movement was also challenging, because the solo pieces I had learned in the past only required me to know my part, but for this competition I had to know the orchestral interludes as well, so that I would be able to take my cues without referring to sheet music. My teacher, Ida Leshchinskaya, http://www.thefim.org/organ-piano-and-harpsichord-department  was tireless in her help and encouragement, and really brought me up to where I am now.

 I was very honored to receive first place in the Flint School of Performing Arts Concerto Competition on October 19^th, 2009. I’m looking forward to playing Saint-Saens’ Fifth Concerto with the Flint Youth Symphony Orchestra on December 12^th at 7 pm at Davison High School http://www.facebook.com/pages/Flint-Institute-of-Music/66709320132?v=app_2344061033#/event.php?eid=193779896682&index=1 I hope you’ll come and listen!

 Forrest Brazeal is a home schooled high-school senior from Clarkston, MI. When not practicing the piano, he spends a great deal of his spare time in his basement sound studio, writing and recording music of his own. (You can check out some of his work at his website.) He plans to pursue sound engineering at an area college in the fall of 2010.

This week, former FSPA dance student, Sarah Pelc blogs about her experiences as a student.

Growing up in Flint, dancing at FSPA was always a part of my life. Little did I know how much of an effect my dance training at FSPA would have on me later in life. First and foremost, the faculty of the dance department taught me the proper form and technique for both ballet and modern dance. From my experiences, I have learned that ballet is the foundation for many forms of dance. The strong emphasis on ballet at FSPA prepared me for a career in dance, even though I have become a contemporary dancer.

My favorite part of dancing at FSPA was performing. Through the annual Nutcracker production, along with the Flint Youth Ballet’s Festival of Dance, I was able to strengthen and build my technique and artistry as a dancer. If there is one thing I’ve learned in my short time in the professional dance world, it is that a dancer can have the most beautiful technique in the world, but it is the passion and emotion the dancer exudes that is the most enjoyable part to watch. The variety of styles and repertoire performed at FSPA helped to build artistry that I can carry with me across all forms of dance.

Another one of the highlights of the dance program at FSPA was working with guest artists. During the Nutcracker, watching the professionals from Dance Theater of Harlem perform the roles of Sugar Plum, Cavalier, Nutcracker Prince, and Clara provided inspiration and motivation to us younger dancers. It gave us something to aspire to, and it reminded us that professional dancers are real people too. Working with guest choreographers also helped me to understand and learn more about the larger dance world, outside of FSPA. It was working with guest choreographer Darrell Moultrie that I began to realize my passion for contemporary dance. Learning the different styles of Darrell and other guest choreographers at FSPA led me to explore other styles of dance, and helped me to become a more versatile dancer. Eventually, I realized I wanted to study modern dance in college.

Now, as a scholarship student at the Lou Conte Dance Studio, home of Hubbard Street Dance Chicago, I am grateful for the training I received at FIM. Although my dance trajectory has moved from performing in The Nutcracker to learning repertoire by Nacho Duato and other contemporary choreographers, I credit the foundation of my dance training to FIM.

Pia Broden Williams is a faculty member of the Flint School of Performing Arts. She taught general music to grade levels K-12 in Flint and Mt. Morris and has served as musician and choir director for various churches. She is a seasoned vocalist and has acquired extensive recording and performance experience with several organizations, including various jazz groups and currently with the Michigan Opera Theatre (chorus member) and Flint Jubilee Chorale. She has appeared at the Detroit Jazz Festival and other venues across the Midwest. She has a rare voice that can execute proficiently classical, jazz, gospel and pop styles. She received her Bachelor of Arts in vocal performance and philosophy from the University of Michigan and her Masters of Music in performance from Michigan State University. Currently, she holds the position of Director of Music at the Unitarian Universalist Church of Flint. This is the second entry where she writes today about the process of preparing for her upcoming Faculty Concert.

The first bel canto aria I ever heard and really my first “introduction” to the coloratura soprano voice type, was a recording of Beverly Sills singing “O quante volte.” I have been in love with the style ever since. I realize that I don’t sing it enough and also that there are some roles I should be doing as a coloratura soprano. This concert will be a wonderful opportunity for me to bring three arias from three of these roles before an audience.

Today, I had my final rehearsal with everyone before the concert, Saturday. And the hard part begins now. I’ll be taking it easy tomorrow, but I’ll also be trying to pull myself into the mindset of each character more fully. They are all very different women. Perhaps the most challenging aspect about it is that I am a very withdrawn, introspective, and ultimately shy person. So, it’s difficult for me to be “out there” sometimes – and I have to be for Giulietta, Adina, and especially for Lucia! I know, I know. Who ever heard of a shy soprano? Well, we exist!

With this entry, I’ll open things up a bit, and, instead of trying to anticipate what questions anyone might have, I’d just love it if some were posted that I could answer! So feel free to leave comments, questions, and such, about the process, the music, etc. and I’ll be happy to respond!

Pia Broden Williams is a faculty member of the Flint School of Performing Arts. She taught general music to grade levels K-12 in Flint and Mt. Morris and has served as musician and choir director for various churches. She is a seasoned vocalist and has acquired extensive recording and performance experience with several organizations, including various jazz groups and currently with the Michigan Opera Theatre (chorus member) and Flint Jubilee Chorale. She has appeared at the Detroit Jazz Festival and other venues across the Midwest. She has a rare voice that can execute proficiently classical, jazz, gospel and pop styles. She received her Bachelor of Arts in vocal performance and philosophy from the University of Michigan and her Masters of Music in performance from Michigan State University. Currently, she holds the position of Director of Music at the Unitarian Universalist Church of Flint. She writes today about the process of preparing for her upcoming Faculty Concert.

This Saturday, November 7th at 2 PM is my faculty recital of bel canto arias entitled “Bel Canto Bonbons”. I have had such a wonderful time preparing for this concert and there is just so much I can say about the process, the music, and the enjoyment I experience as a performer, bringing this music to an audience. But I think a great place to start would be a sneak peak into the “behind-the-scenes” activity that must take place in order to have a successful concert.

First of all, performing bel canto repertoire presents a few challenges that, I think, are heightened when compared to other styles. For instance, since bel canto (Italian for “beautiful singing”) is all about using the beauty of the voice to express the emotions and thoughts of the character, it can be very fluid and personal but must also be structured. So, it demands lots of time coordinating musicians and singers so that we are “together,” understanding how fast, slow, etc. a phrase will move, -- the ebb and flow, so to speak. My voice teacher at Michigan State compared bel canto to jazz because it’s so individual and emotionally driven; and, as a person who sings both styles, I’d say that’s a perfect way to describe it! Bel canto is like the jazz of opera.

Before one can even begin to put things together with musicians, one should first have a fairly good handle on what he or she wants to do expressively, know what every word of the text means, and of course, know the music. I learn word-for-word translations, write them down in my score, start learning notes at the piano, and I listen to the interpretations of the greats to give me a starting point. A few of my favorite sopranos to listen to are Joan Sutherland, Beverly Sills, Kathleen Battle, and Natalie Dessay. I spend hours practicing, listening, and working through the music daily.

Now, after I’ve done a nice portion of the groundwork, I’m ready to work through with my orchestra – Frank Pitts. Over the last five or six weeks, I have met with Frank, who is collaborating with me on piano, and with Nada Radakovich, who is providing very knowledgeable, informed, coaching. The journey has been amazing! Every time we meet, I discover some new way to approach a line or connect with the characters of Giulietta, Adina, and Lucia. And that’s what collaboration is all about! Since Frank is a both a singer and a pianist, he truly understands how to support a voice; and it’s a fact that a good accompanist is VERY important for a singer!

In addition to working with Frank and Nada, I’m having a blast collaborating with some other FIM colleagues: Jessica Price and Glen Holcomb. Jessica will play the flute obbligato for the famous Mad Scene from Lucia di Lammermoor on the concert. Glen will be my Nemorino in a scene from The Elixir of Love. Just for a rough estimate in case anyone is curious, I’d say that by Saturday’s forty to forty-five minute concert, over ninety hours of preparation have gone in, including rehearsals with each person involved and coachings -- and not counting research.

I’ll conclude this entry by saying that the best part about being at the FIM is being surrounded by so many others who are dedicated to musical excellence, artistry, and education. I feel truly fortunate to have such wonderful musicians and friends performing with me. I look forward to Saturday when, hopefully, you will be able to enjoy the fruit (or bonbons, as it were) of our labor as much as we have enjoyed the journey!

-Pia Broden Williams