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BOURSES D'ÉTUDES POUR JEUNES ARTISTES
Les lauréats 2011

Interprétation vocale classique
Emily Duncan-Brown

Emily Duncan-Brown, native de Mississauga, en Ontario est une soprano de 25 ans qui poursuivra ses études professionnelles cet automne à New York, auprès de la célèbre professeure de chant Ruth Falcon. Mme Duncan-Brown détient un diplôme d'études professionnelles et une maîtrise en musique du collège Mannes, la nouvelle école de musique de New York et un baccalauréat en musique de l'Université McGill. Enfant, elle a été actrice pour le Cirque du Soleil et
s 'est produite dans de nombreux lieux en Amérique du Nord; elle a en outre pris part à des programmes d'été nationaux et internationaux, notamment pour le compte de l'Institut international d'art vocal, en Israël. Elle a reçu plusieurs prix prestigieux et a remporté la première place des auditions du conseil national du Metropolitan Opera – région de la Nouvelle-Angleterre.

Dans sa mise en candidature pour la bourse en interprétation vocale classique de la Fondation Hnatyshyn, Ruth Falcon a décrit Emily Duncan-Brown comme ayant une voix de soprano lyrique ravissante. Elle a ajouté: « Elle est à l'aise pour s'exprimer en plusieurs langues et styles, de façon harmonieuse. Elle maîtrise aussi bien la scène d'opéra que le répertoire du récital. Je crois que cette jeune chanteuse et artiste fera son chemin et une carrière exceptionnelle. »

Dans son évaluation des prestations soumises par M me Duncan-Brown, le jury pour l'interprétation vocale classique a loué le timbre sonore et harmonieux de sa voix et son style élégant… il s'agit d'une belle voix, remplie d'énergies et d'intonations positives. Bravo!

Le jury était composé d'Isabel Bayrakdarian, soprano, Toronto, de Kim Mattice Wanat, fondatrice, Opéra Nuova, Edmonton et de Timothy Vernon, directeur artistique, Pacific Opera, Victoria.

Mot de l’artiste

I feel incredibly lucky to be able to pursue what I love most in the world as a career. To be an opera singer is to leave a piece of yourself on the stage for every performance, and it is to leave a piece of yourself with every member of that audience. Because you sing text along with the musical line you hold twice the responsibility of an instrumentalist, but also twice the power to do what I believe is the most important aspect of this art - to communicate an emotion to your audience. It is my goal to serve the music and text with what I can uniquely offer as an artist. I want to make the audience laugh through my sense of humor seeping into my vocal phrasing and facial expressions. I want to make them get shivers and cry from the colours of vulnerability and grief in my voice. Of course this requires the highest level of technical proficiency in order to give these vocal expressions, but it also requires a deep understanding of the character in order to give the most truthful performance. I believe in order to give the most genuine performance you must constantly be involved in artistic self-analysis and reflection. I was raised to believe the Stanislavsky quote "Love the art in yourself, not yourself in the art" as law. It is essential for us to remember that this is a selfless art - each performance is to serve that greater purpose. serving the music, text and touching the public.

My dream would be to have a career like Renee Fleming, performing at the greatest opera houses all over the world. But my goal is to make my living doing what I love first and foremost. I need to be singing, to be sharing my passion, and I believe I have the potential for a great career. it is just a long and lucky road there. I aspire to be known as a great musician, singer, actor and colleague. I would like to be known for my versatility and unique timbre. I want to sing Baroque music through Mozart and Verdi on through contemporary composers. I want to be respected for the work I put into making my performances truthful and moving - no matter what stage I'm on.

The technical mastery comes with devoted practice and a trusted guide. Practically every lesson, with the help of my teacher, I come to understand some tiny nuance of my voice that had been a mystery before. I believe healthy singing should sound easy: no tension from the neck up, but active and elastic ribs and support.

I am a sensitive person. I am constantly moved by music and inspired by art and the people who create it. But what inspires me the most has been my work teaching children how to sing, teaching them about the music itself and finally watching their reactions. I know through them that this art form is far from fading. I watched a twelve-year-old student of mine attend her first live opera, and it was a life changing experience for us both. She sat there in awe, physically shaking from her emotions, and couldn't stop talking about it when it was over. I watched her describing the experience to her peers, and the details she remembered. Her reaction was so similar to the way I would feel as a child that I was flooded with hope. She is the future of this art. whether she ends up a performer or audience member, she is passionate about the music and that is what is important.

 

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