6th Monteverdi-Madrigal-Week 2024
Masterclass - Registration
S. Agnese - Gesuati, Venice
Sunday, 21st til Friday 26th July 2024
The Masterclass is aimed at professional singers or students who want to work for a week with an experienced, internationally renowned singer and improve their vocal performance and their technique.
There are only limited places available for the Masterclass. For the participation an application with a sound recording is necessary. (Please add 'Masterclass' when you indicate your voice in the registration!) The sound recording must be sent as a mp3-file to email@example.com or, if necessary, a link for downloading the mp3-file (eg https://wetransfer.com/)
Course fee 480€, students 380€ - accommodation not included - it must be organized by the participants themselves.
Early bird 430€/330€ (students) til 29th february 2024
(*) = required,
Please transfer the course fee to the account:
Mag. Johann Fromhund
IBAN: AT30 4715 0403 8642 0000
'Monteverdi Week Masterclass 2024'
Once the fee transfer has been registered, your place on the course is secured.
until 31.5.2024 a full refund (-10% handling fee)
until 7.7.2024 a 50% refund, after that no refund (if possible find a substitute participant)
'It was a wonderful week, and if it works, I'll be back next year. What a nice idea to play Monteverdi's music in 'her birth city'. I already told you that I am enthusiastic about your workshop.' (Dagmar Ziegner, Königswinter)
Emma Kirkby (London, UK) Soprano, Masterclass
Soprano Emma Kirkby is a British early music specialist who has sung on over 100 recordings with prominent performers such as the Taverner Players, the Consort of Musicke, Academy of Ancient Music, London Baroque, Fretwork, The Purcell Quartet, L’Orfeo of Linz and Freiburger Barockorchester.
She taught for many years at Dartington International Summer School in the UK, and remains busy each year at specialist summer academies, in Germany, Austria, Italy and the USA. She also gives regular classes at the Guildhall School of Music and Drama in London.
Emma was fortunate to encounter Renaissance vocal polyphony while still at school, and to continue with that when she joined the Schola Cantorum at Oxford, where she studied Classics; but best of all, she encountered there period instruments known to Renaissance and Baroque composers, - the lute, harpsichord, wind and strings, whose sound and human scale drew from her an instinctive response. As a schoolteacher and amateur singer she was soon invited to perform professionally with pioneer groups, and long partnerships followed both in Britain and abroad, with ensembles, individual players and record companies, so that Emma’s voice and style are now recognised worldwide.
Among her many recordings, for Decca’s Oiseau-Lyre, Hyperion, EMI, Chandos and BIS, are:
Hildegarde of Bingen - Sequences
Tromboncino - frottole
William Byrd - Consort songs
John Dowland and John Danyel - songs
Robert Jones and Robert Johnson - songs
Sigismondo D’India – arias duets and madrigali
Heinrich Schütz – madrigali
Jacques de Wert - madrigali
Monteverdi – duets, solos and madrigali
Monteverdi – Vespro della beata Vergine (1610)
Henry Lawes – songs and dialogues
John Blow – Songs and dialogues
Henry Purcell- Songs, Odes and theatre pieces
Henry Purcell – Dido and Aeneas
Couperin and DeLalande - Leçons de Ténèbres
Various composers- Songs for Mrs. Arne
Vivaldi - Opera arias and motets
Handel – opera arias, cantatas and motets
Handel - “Messiah”
JS Bach - H-Moll Messe
JS Bach - cantatas
JS Bach - MatthaeusPassion
Montéclair - Cantates
Mozart – “Requiem”, motets and concert arias
Haydn - “Creation”
Haydn - Canzonets
Amy Beach - songs
It has always been a joy for Emma to visit Italy; she has tender memories of regular concerts in San Maurizio, Milano, in the 1980s, of workshops in Coccaglio in the ‘90s, and since then in Friuli, Cremona, Bari, Roma, Bevagna, Trevi and most recently Firenze and Urbino It is exciting to see young Italian singers finding their own relationship with such marvellous repertoire, and recreating the vocal glories of the 16th and 17th centuries; yes, opera was born there, but in the early years its heart was in chamber music and the exquisite subtleties of vocal ensemble, developed by consummate artists who attracted the best composers then living.
Emma was made a Dame in 2007, and awarded the Queen’s Medal for Music in 2011, the REMA Early Music Award in 2018, in recognition of her career as an artist and mentor to young early music performers, and the Lifetime Achievement Award by “Gramophone” magazine in 2019. Amazed by all this, she is nevertheless glad of the recognition it implies for a way of music-making that values ensemble, eloquence and stillness more than sheer volume or mere display. Above all, she is delighted to see a new generation of singers and players bringing their skills and enthusiasm to the enterprise. (Photo: Miguel Barreto)
'It is a lot of fun to work with you on the madrigals! You are a great team and you transfer your enthusiasm to the group. The Madrigal Week is a great experience - a wonderful interplay of the unique atmosphere of Venice, the great music of Monteverdi and the good mood of the group during the rehearsals - and also outside the rehearsals.' (Britta Heiermann, Rommerskirchen)