Angela Niederloh

Growing Voices

Founded by a pair of Oregon opera stars, VOXnorthwest Voice Studio gives young singers a recipe for success

By ANGELA ALLEN

“I’m not feeling the high note now,” says Karsten George, shaking his head while rehearsing at Portland State University’s Lincoln Hall one late-May afternoon.

He’s singing a song from Stephen Sondheim’s Sweeney Todd, and he isn’t quite nailing the top note. His soprano voice is starting to change. He’s 13 and just completed seventh grade at All Saints School in Portland.

“Spin, sing, spin. Take a big rest before the note, then spin, spin, spin,” says Matthew Hayward, Karsten’s voice teacher and co-founder with opera singer Angela Niederloh of Portland’s VOXnorthwest Voice Studio. (Later, Hayward explains through email that “singing is all about the breath and how we use the breath to support the sound. ‘Spin spin spin’ means moving more air at a faster rate through the vocal apparatus, and that helps with freeing the note and letting the body relax.”)

Karsten George and Matthew Hayward at VOXnorthwest Voice Studio. Photo: Angela Allen.

Hayward, a lyric baritone when he’s performing and not teaching, moves away from the piano, sits down with Karsten, and encourages him to relax and reach for notes in Sondheim’s demanding “Not While I’m Around,” which none other than a boy’s pure soprano voice on the verge of maturing can properly render. Karsten loves the song and will perform it at a concert on June 30, the culmination of an intensive classical-music performing camp for kids June 25-30 at PSU. Debuti camp grew out of VOXnorthwest Voice Studio, and several of its students, including Karsten, will participate. For the camp, three theater, dance and music faculty members will teach alongside Hayward and Niederloh.

The hour-long VOXnorthwest concert begins at 7 p.m. Saturday at PSU’s 220-seat Lincoln Hall Recital Hall, where students will present excerpts from Carmen, La Traviata, Sweeney Todd, Magic Flute, West Side Story, The Mikado, among others. There is no charge for tickets.

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‘Israel in Egypt’ review: full-blooded Handel

Oregon Repertory Singers, orchestra and soloists deliver a performance that matches the great baroque oratorio's epic scale

by BRUCE BROWNE

It’s a plague, it’s a pestilence, it’s a flood, a conflagration. Is it a Camus play, a new video game or first run science fiction flick? No, it’s the dramatic unfolding of the Old Testament of the Bible and the 290-year-old oratorio Israel in Egypt.

For George Frideric Handel, the late 1730s were a period of upheaval. He suffered and recovered from a neurological event while living in London on the up side of his forties and down side of his opera successes. But Handel dug in and evolved. He stepped back from Italian opera and, by the end of the decade, he was composing and mounting his new favorite musical genre, the oratorio, which is like opera without elaborate costumes, props, theatrical character interaction or secular subject matter. (If you’ve seen Handel’s later Messiah, you’ve seen an oratorio.) Israel in Egypt, one of his first enduring oratorios, was premiered in 1739.

Oregon Repertory Singers performed Handel’s ‘Israel in Egypt’ at Portland’s First United Methodist Church. Photo: Allison Silverberg.

In the Oregon Repertory Singers‘ performance at First United Methodist Church last weekend, music director Dr. Ethan Sperry presented Israel in Egypt, as it is most often, in the two-act version created by Handel after a less than enthusiastic response to his three-act premiere. Thankfully, Handel retained the exquisitely virtuosic single and double choruses and several lovely arias presented by director Sperry, choir, orchestra and soloists.

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