In front of an audience of 25, Kathryn Sadler and Wendy Todd presented an educational and informative session introduced by Carole McKenzie,Vice President of ANATS(Vic).

Pianists Susan Crawshaw and Lewis Plumridge accompanied VCE students.
Erin, Lucinda, Kate, Taya, Ellen, Laura, Chantelle, Ann Marie, Spencer and Lucy who presented a wide variety of songs from Mozart (Un Moto Di Gioa), Sullivan(A Simple Sailor) Faure (En Priere), Bononcini(Per la Gloria), Rodger(What’s the Use of Wond’ring) and Grever(What a Difference a Day Makes).

Kate and Wendy skilfully honed in on specific areas to improve each performance. Suggestions made included:

• Each person will have an optimum number of performances they must present before feeling comfortable singing in front of an audience. Use each one - take as many opportunities to perform as possible to get your quota!
  
• Pitch begins in your head – prepare before you make sound!
  
• Strong consonants
  
• Strong posture
  
• Silent intake of breath
  
• Breathe early
  
• When executing semiquaver runs, remove the ‘h’ from each note
  
• If you make a mistake don’t give yourself away – keep acting!
  
• Dress for the occasion
  
• Practise ornaments as staccato on a vowel to secure pitches, then join them on a single vowel before adding words
  
• Exaggerate dynamics
  
• Only use nasal twang for character voices in music theatre
  
• Don’t be afraid to use speech quality in contemporary repertoire
  

Wendy Todd (Victorian ANATS President) prepared a handout on the differences between the old and new contemporary voice syllabus. Any ANATS members who would like a copy of this, please email jcaire@alphalink.com.au and one will be forwarded to you.

Lyn discussed the differences between the current classical syllabus and the new syllabus:
- fewer scales and exercises
- memorisation requirements
- broad range of popular repertoire
- free choice item
- appropriate additions to the objectives
- choice between sight reading and aural tests

A useful handout (provided by Melinda Cerisoli) covered the major differences between classical and contemporary singing. This chart provided a basis for further discussion which included
- appropriate accompaniments
- transposition to suitable keys
- use of chest voice and belting
- desirability of individual approach
- improvisation and the importance of characterisation in music theatre

Lyn emphasised the importance of the scales included in the syllabus. These scales are carefully and logically graded. In early vocal studies it is essential to learn how to listen and how to hear. Scales and exercises are absolutely necessary to improve ear, eye, musicianship skills and vocal technique. Lyn was asked to comment upon her approach to examining this syllabus. She outlined this as follows, bearing in mind the criteria in the syllabus:
- a convincing performance in the chosen genre(ie coming across!)
- stylistic awareness linked to appropriate vocal quality
- clear diction (allowing for the particular style)
- imaginative interpretation, including freedom of expressive elements
- ease of vocal delivery (no forced or ‘screamed’ tone)
- personal involvement and individuality
- reliable intonation
- enjoyment

At the beginning of the second section of the workshop Alwyn Mott, State Manager of the AMEB informed the audience about the processes used by the AMEB for the development of a new syllabus.
Jenny Caire (at very short notice due to the unavailability of Melinda Cerisoli) presented three young students - Iona Roy, Laura Seymour and Josh Piterman. These singers performed some works from the syllabus and some from contemporary music theatre. The students spoke about their own approach to the songs – how they felt about each song and how not to sing them! Their performances demonstrated the different stages of development of these young singers and were much appreciated by the audience. Many thanks to Kellie Ryan whose ability to accurately ‘read the notes’ and also to accompany within the style of each piece and with sensitivity to the singer, was in evidence.
This session was attended by VMTA and ANATS members and also by some students and teachers not members of either association.

The Victorian Chapter of the Australian National Association of Teachers of Singing and the Lieder Society of Victoria combined to co-host a special afternoon in honour of Bettine and her great contribution particularly to opera singing in this country.

Bettine was a founding member of both ANATS and the Lieder Society and was also on the staff of the Ronald Dowd Bathurst Summer School for Singers. She has taught at both the Melbourne University Conservatorium of Music and the Melba Conservatorium. Bettine has trained 7 Herald-Sun Aria winners, the first of whom was Jonathan Summers. Many of the hundreds of students trained by Bettine have gone on to international success and are working overseas.

The afternoon celebration on Sunday June 18^th was held at Cameron Close, Burwood, where Bettine and fellow singing teacher Joan Arnold, OBE, reside. It was attended by over 200 guests who were entertained by some of Bettine’s former students including Carole McKenzie, herself a Sun Aria Winner.