Supra title translations have been provided for the foreign language poetry.
Here's the 2.5 minute piece that the Culture and Arts Reporter, Joe Bevilacqua produced for Hawaii Public Radio. On air, it was preceded and followed by the information about the Winners Recital of 2001.
Hawaii Public promotes art song by initiating this classical song competition open to amateurs and professional singers of all ages. Held annually since 1997, the contest allows classical singers the opportunity to be acknowledged for their excellence. The contest is now handled by a committee and continues to receive administrative support from Hawaii Public Radio.
There is no cash prize; the recognition and prestige of the contest attract high quality contestants and a large number of local and international entries - an average of 50 each year, from across the Hawaiian islands.
Vocalists submit tape recordings or CDs of their performances of a single art song*, and judges choose semi-finalists from these recordings; these semi-finalists are broadcast on HPR’s Great Songs. Finalists (or "Winners") are chosen by a second round of judging and they share a public recital which is also recorded and aired on Great Songs. Through its use of radio broadcasts and recitals, the contestants reach a large audience and this raises public awareness of art song and of the talented performers.
*For the purposes of the Art Song Contest, "art song" is defined as poetry set to music by a classical composer for voice and piano.
We greatly appreciate the sponsorship of Hawaii Public Radio.
All but previous winners are welcome to enter. Contestants may submit a recording of their performance of a classical song of their choice. If recording is a probelm, HPR provides studio time. A recording engineer is provided. This same service is provided for the Neighbor Islands.
If one doesn't have a pianist for the recording, the committee can usually arrange one. The pianist's fee must be handled by the singer.
The recordings are judged on vocal proficiency, expressive ability, and language/diction skills. Contact Hawaii Public Radio at 808 955-8821 or email: jneale@hawaiipublicradio.org for further information.
Hawaii Public Radio is a member-supported non-profit organization. Your assistance is a crucial component in guaranteeing the future of the high quality broadcasting and the live programs you’ve come to expect.
Great Songs began in 1988 and has provided weekly broadcasts of art songs ever since. After 20 years as the program's MC, Gary Hickling handed the program over to Amy Healey and Maya Hoover.
HOW TO DEVELOP YOUR OWN ART SONG CONTEST
by Gary Hickling
Founder and Former President of the Lotte Lehmann Foundation
Background
The Lotte Lehmann Foundation employs various means to fulfill its mission: the preservation and dissemination of Lotte Lehmann’s important musical legacy, as well as the encouragement of art song appreciation through performance and education. This website functions well in support of the first half of our mission statement. Finding creative ways to stimulate art song performance and appreciation is more challenging - but entirely possible!
One effective tool for focusing attention on classical song is to host an art song contest. We have enjoyed much success initiating this type of song forum in the past years here in the state of Hawaii (which is not usually considered a hotbed of art song performance). You may choose from the following information, that which would make a good event for your community.
But remember, the goal is NOT to necessarily discover some great new singers. If that happens, fine, but the reason for the contest is to encourage the singing and appreciation of art song.
To assure that there aren't conflicts of interest, it might be best to organize it outside of the university or college of your area. A retired voice teacher or coach, with all their connections to church singers, amateur and professional singers, conductors, pianists and coaches, might be the best person to organize the event.
Below you'll find the basic time frame for putting together such a contest which was used by the Hawaii Art Song Contest Committee in 2004. You can use elements of the suggestions that would work in your community and develop your own outline.
The format is simple enough that it can be duplicated in many communities. Our experience has been that contestants of all ages and levels of experience perform a wide range of songs with competence, joy and enthusiasm. In 2001 62 singers, including eight teenagers, entered. One contestant, an accomplished 85 year old baritone, demonstrated his well developed story telling abilities and vocal longevity. Though no cash prizes are offered, the exposure and the prestige of the contest are enough to attract many fine singers.
The effect of these contests has been to increase recognition of art song as something worthy of attention by singers and their pianists, and to stimulate growth of an audience enjoys the excellence of these performers.
Format
We designed the art song contest format with the hope of avoiding the worst elements of a contest while trying to capitalize on its potentials.
• We don’t designate a single winner, but instead honor four or five singers who share a live "Winners Recital."
• At the semi-final level we acknowledge as many singers as possible: thirteen to fifteen contestants are selected. Their recorded entries are broadcast on Hawaii Public Radio’s Great Songs program, along with a brief background biography for each singer.
• There are no contestant age limits. If an individual knows what art song is and wants to enter, they’re encouraged to do so regardless of age. We’ve had contestants as young as eleven.
• Singers who don’t qualify as winners are encouraged to enter next year’s contest. We’ve observed several singers thus pass to higher levels and even become winners.
• There is only a small entry fee to cover basic costs.
• In addition to being heard on state-wide radio and performing in the "Winners Recital," one song from each winner’s performance is loaded onto the Lehmann website for the world to hear. A group photo of winners and their pianists is also displayed on the site.
Procedure
The contest begins each year with announcements on Hawaii Public Radio (HPR). We invite all interested singers to contact the station to receive a set of rules and enter the contest. Further, all choral conductors, singing instructors and other interested musicians throughout the state of Hawaii are mailed a description of contest rules. As many singers, teachers and collaborative pianists as possible are contacted by phone or email to alert them to the contest.
Sample Contest Rules
GOAL: To encourage the performance and enjoyment of classical song in Hawaii.
PROCEDURE: The competition is open to professional and amateur singers of all ages and nationalities. Submit a recent "broadcast quality" recording on tape, CD or DAT of one art song* (in any language) with an application form by ____________. If you send a cassette, please mark it Dolby B or C as appropriate.
If you cannot record yourself, recording sessions at HPR are available in__________. Call to reserve your session. Neighbor Island recording sessions will be announced. Singers are responsible for providing and paying their own pianists.
Former contestants and semi-finalists may enter again.
JUDGING: All decisions are final. Judging occurs in two stages -- semi-finalists and finalists. The criteria are:
1. Vocal ability: basic sound, breath control, range, intonation, rhythm, dynamics etc.
2. Words: diction, language ability, relating to or identifying with the meaning of the words and using a tempo that relates to the words.
3. Presentation: interpretation, projection of personality and charisma, character, joy of singing/performing.
RESULTS: Semi-finalists are broadcast on HPR’s Great Songs. Finalists share a public recital that is also broadcast on HPR. No financial prize is offered; no pianist is provided.
*For the purpose of the contest "art song" is defined as settings of poetic texts for voice and piano. Opera arias, oratorios, cantatas, popular, commercial and Broadway songs are not included in this definition. Transpositions and translations are acceptable.
Recorded Contest Entry
As you can see, the recorded song contest submission is important. It is the only means the judges have to make their decisions. It is also the tape or CD that is used for broadcasting the semi-finalists program on Great Songs. For this reason, we provide the opportunity for singers to record their entry at HPR, which has a professional caliber sound booth attached to the performing arts studio. The Lehmann Foundation pays the recording engineer and the singer pays the pianist. Of course it’s acceptable if a singer prefers to submit a recording made at home or in another studio. However, we request that to be considered for the contest, the recording be of "broadcast quality."
Some participants may not be able to reach the recording studio easily. The Hawaiian Islands themselves pose a logistical problem, as Neighbor Island singers either must record their own tape or fly to Honolulu to record at the HPR studio. To remedy this, we raised funds to fly a recording engineer, a pianist and a producer to the Big Island to record singers in Hilo and Kona. We also broadened our outreach to include Maui. One day we hope to reach Kauai.
Judging
After the deadline, we place all the contestants’ recordings on one tape or CD and then assemble a panel of judges with a broad range of expertise: vocal technical experts, various language specialists, song historians, choral conductors and pianist/vocal coaches. Each judge receives a sheet on which to make comments and to use for referral when discussing, defending and deciding which singers should move to the next level. To keep the judging process as objective and honest as possible, no names are listed; each singer’s entry is given a number. Thus the judge reads only the name of the song and a number.
Sample Judge’s Sheet
Thanks for agreeing to help with this difficult task.
You’ll find 5 blanks on your sheets. Here are the categories, however truncated, where you can write in your range of numbers, or choose the system below.
0 = needs experience/training; 10=as good as it gets
The first column should cover vocal-technical elements: vocal ability; basic sound; breath control; range; intonation; rhythm; dynamics etc.
The second column considers words: diction; language ability; understanding the poetry; relating to or identifying with the meaning of the words; using a tempo that relates to the words.
The third column takes into consideration personality or charisma; character, presence, joy in the act of singing/performing.
The fourth column is for recording quality. The contestants are told this should be a "broadcast quality" recording. Some singers might otherwise be winners, but their tapes aren’t "broadcast quality."
The final column is for your totals. This is most useful for selecting the semi-finalists/winners.
Contest Semi-Finalists
One of the reasons for choosing thirteen to fifteen semi-finalists is that the taped compilation of their entries fits into the hour-long format of Great Songs. If your local public radio station doesn’t have a vocal arts program, approach them with the idea of producing a "special" of such semi-finalists. Most program directors are more than happy to fulfill their community service mission by airing such events. We also alert the newspapers about this special broadcast for inclusion in their community events calendar.
Contest Winners
Four or five singers are chosen from the semi-finalists to perform at a public "Winners Recital." This number of artists fits well into a 90 minute recital format. Each singer prepares between 15-20 minutes of songs. Local newspapers are contacted with press releases for the event. HPR also runs announcements of the "Winners Recital" as part of their Community Events Calendar. In the past, an audience of about 130 has turned out. We charge for tickets ($5-$10) and after paying for the hall and the programs, etc., we give the rest to the singers to help defray their costs.
The program includes song translations (we have also provided projected "supra titles"). An MC introduces the singers and a reception is held afterwards. Since there is no single winner, a feeling of mutual support and camaraderie is present among the singers and the audience.
We professionally record the recital for later radio broadcast on HPR, to allow an opportunity for the broader community to hear these singers. We have also videotaped the "Winners Recital" and plan to edit these for local public access television.
Contest Costs
The costs of such a contest are not overwhelming. If one establishes a good relationship with a public radio station which has a recording studio, the costs of promoting the contest and recording the contestants is avoided. For those communities without a cooperating radio station, promotion can be handled by email and phone. Lack of a recording studio may not pose a significant problem. Initially we didn’t provide recording resources for singers, yet still received a good response of home and school produced tape recordings. Each year some of the singers send "home" recordings which are good enough for judging purposes and meet our "broadcast quality" standard.
Volunteers do all work possible and thus the only costs are those of renting the hall for the "Winners Recital," paying the recording engineer and videographer, and printing the programs and tickets. We try to find as many "pro-bono" supporters as possible. In the past, our costs have totaled around $1,000.
Problems That We’ve Faced
1. Grouping all levels of singers together (professionals, amateurs, students and teachers) into one contest understandably yields some resentment. For example, teachers don’t generally like to compete against students, especially their students.
2. Singers tend to be shy and must be individually contacted and actively encouraged to enter. Also, without a cash prize, the endeavor seems pointless to some, so we have to "pitch" the event to a few singers. This becomes easier each year that the contest gains in reputation and legitimacy.
3. Even with the guidelines provided in the contest rules sheet, many singers still call wanting to sing/record their own pop song, folk songs, opera aria, etc. We have learned to treat this as a teaching experience, allowing us to broaden general knowledge as to just what an art song is.
4. Some teachers don’t allow their students to enter the contest rather than risk not having winners.
5. Some singers don’t accept the outcome and resent not being a winner.
Joys and Rewards
1. Deep relationships are developed among the wide range of choral singers and conductors in the state. This includes those chrouses at schools, the opera, universities, churches and independent groups.
2. Mutually supportive contacts with other singing teachers are initiated through NATS. Many teachers appreciate the discipline learned through presenting their students with deadlines. Also, including art song in the vocal curriculum balances and enriches educational agendas.
3. Winners are proud of their achievement and use the art song contest as one of their biographical victories.
4. Pianists and coaches who enjoy art song have the opportunity to participate through the entire contest process. Their collaborative talents also receive some deserved recognition.
Summary
No matter what you call it, if you value art song, classical song, concert song, Lieder, and mélodie, there are many ways you can help this field of classical vocal art gain broader participation, exposure and appeal. An art song contest is just one way to achieve this. If you have any questions, consult other portions of our website. You may also contact us with suggestions or for further information at: <info@lottelehmann.org>
Time Table for Art Song Contest
This was designed for use of the Hawaii Art Song Contest Committee and should be taken as a point of departure for those wishing to develop their own community art song contest, festival or other event.
Hawaii faces logistical problems not encountered in most areas, so many of the elements mentioned below would not be
Prelude: One O’ahu person must be the designated “director” of the Art Song Contest, so that all the recording dates, judging, and performance details etc. can be handled/coordinated in one place.
A coordinator/contact person on each Neighbor Island (separate for Hilo and Kona) must be chosen by the director. To make it fair, each contestant is given the same amount of recording time (15 minutes).
It should be emphasized that the recordings, whether done by us or by the singers, MUST be of “broadcast” quality. The only way that the singers are judged is by that single recording; that recording is what is heard on Great Songs when the semi-finalists are presented.
Remember that we have only have a limited amount of money for the Neighbor Island Outreach. This pays for the singers on Molokai and Lanai to fly to Maui or O’ahu to record. It also pays for the recording engineer, pianist, and flights and accomodations for one night on O’ahu for any Neighbor Island Winners.
Time Line Suggestions
1. September: Meet with public radio people to layout responsibilities, press releases, deadlines for the station’s newsletter and events as they will occur throughout the coming year.
2. October: Prepare flyers and applications. Contact the choral conductors (Neighbor Islands as well as O’ahu), voice teachers, coaches and singers with copies of the flyer and application.
3. November: Arrange with the various contact people on the Neighbor Islands for the best times to record their singers in the Spring. They can reserve the halls for the date that is best for each island.
4. December: send your list of singers, conductors, pianists, coaches etc. to each of the Neighbor Island coordinators for them to contact. The Oahu-based director can arrange for people on the committee to share in contacting these people on Oahu.
5. January: The O’ahu director may contact each Neighbor Island coordinator to determine what has been arranged. Proctors, pianists and recording engineers must be organized at this time and their availability checked against the schedules developed both on the Neighbor Islands and on Oahu.
The following (#6-#9) can be adjusted/determined by availability. It’s best if only one or two recordings occur each month.
6. February: Kauai recording; let radio station know for their promo/announcement.
7. March: Maui recording; let radio station know for their promo/announcement.
8. April: Big Island recordings; let radio station know for their promo/announcement.
9. May: O’ahu recording(s); let radio station know for their promo/announcement.
10. End of May: all recordings are transferred to CDs and a data sheet prepared for the semi-final judges. Judges (an odd number without conflicts of interest) are contacted for a group meeting/listening during the first week of June.
11. June: Judging occurs and the 13-15 semi-finalists are selected. Their recordings are turned over to the public radio station for a program for the last of July. The director contacts each semi-finalist for a short bio to be heard on the program, along with their performance. These may be sent by email.
12. July: The five (or some other odd number) winners (or finalist) judges are each sent a CD containing the semi-finalists recordings. Each judge is contacted and the results are coordinated/handled by the director. We have found "weighted voting" the best way to ease the selection of winners. Each judge ranks his/her "winners" and the director marks that number by the name. Soprano X received three "firsts" and two "seconds" etc.
When the choice of the four (or more) Winners is made, these Winners are contacted and the auditorium reserved (the first week in September on a Saturday night is best). We reserve the hall for 6 hours before the Winners Recital to allow the singers a chance to warm up there; the piano tuning to occur; the videographer and engineer to set up; the supra title set up and the stage decorations prepared. The public radio station must be contacted to coordinate press releases and announcements in their newsletter. The singers may appear for radio interviews. A recording engineer and a perhaps a videographer are contacted to reserve the performance date.
13. August: The director receives the songs from the singers and determines the order of the program; the director also coordinates the songs, so that there are no duplications. One must also be aware that no opera arias, oratorio arias etc. are included. This is, after all, an art song promotion!
Each Winner has 15+ minutes. Announcements (even if they duplicate the radio station's press releases) are sent to all the newspapers. After the program is assembled a second “program” is prepared made up for the poems and their translations. If supra titles are projected, all of this information needs to go to the projector person. Someone, perhaps at the radio station, must layout the printed program and have them sent to be printed.
Volunteers are contacted for staffing the Winners Recital: stage decorations, leis, ticket window, ticket taker, program distributor, still photographer etc.
It must be determined when the piano was last tuned and if it’s been more than two weeks, a tuner must be contacted to tune it the day of the Winners Recital.
Potential audience members are contacted by email and phone. A flyer is designed and copied. These flyers are posted and distributed to the university, voice teachers, coaches, choral conductors, music teachers etc. Radio announcements can also bring in a great number of audience members.
Parking must be arranged.
14. September: Coordination of the piano tuner, supra titles, sound engineer, videographer and singers is handled by the director. The public radio station staff (or someone) brings a cash box, tickets and programs.
On the date of the Winners Recital, the auditorium is secured by the director or committee representative at the time arranged. The director or representative meets with the auditorium worker and handles all the production details leading up to the opening of the hall, 30 minutes before show time. Each singer and pianist must sign a release BEFORE performing. This allows their performance to be broadcast . Stage and hall lighting, air conditioning and the supra titles are coordinated by the director or representative. The director or a committee member is the MC and welcomes the audience, announces the singers and lets the student worker know when the intermission is over.
After the Winners Recital, bills and invoices will arrive from the hall, printer, piano tuner etc. After the committee has paid everything one may decide to divide the money into equal checks that can help the Winners cover their costs.
A copy of the recording (and video, if one is made) of the Winners Recital is given to each singer and to the radio station for broadcast later. .
15. September: the calendar starts over from the top.
