Masterclasses are an important part of the convention. Read on for how to get the most out of the experience, either as auditor or participant.
Welcome to the convention! Whether attending our CS national convention or one of the many others around this time of year, you have hopped a flight or taken a long car ride to a lovely hotel in a big city…and now what? Surely, you will sing and meet new people, maybe even see the sights—but you will also attend or participate in a masterclass (or two or ten).
One of the greatest benefits of attending a masterclass is the opportunity to learn from seasoned professionals. These instructors are typically highly experienced, often with a wealth of industry knowledge and a passion for teaching the next generation of performers. In addition to working on your own performance, you can learn from observing others. I meet so many eager students in masterclasses, and the time always feels so short. So how do you get the most out of each class?
There are two ways to make the most out of each moment. First, you want to move away from being a passive observer and into an active observer role. Secondly, you want to find ways to observe from two points of view.
Generally, each coaching session begins with the student singing their piece. A passive observer would sit and watch to see what the student is bringing to the class. An active observer might be taking notes on where they see the students could improve. Pose the question to yourself, “If I were running this masterclass, what notes would I give to the performer?” Or you might imagine being that student’s vocal coach. What other repertoire would you consider for this artist? Any perspective that puts you into a more critical role other than audience member will get your creative juices flowing.
Also, while the initial performance of the song takes place, not only observe the performer, but also observe the teacher. Do they take notes or make marks during certain parts of the song? What might they be responding to? You can also observe the accompanist. Are they able to follow the music and/or the singer? Could the singer have better prepared the accompanist for a more successful performance? Finally, you can learn so much from observing your fellow audience members. Are they engaged with the story of the song? Do they respond emotionally to the piece? Are the jokes landing? Are they enjoying the song? Put your observational skills to work on at least two of these fronts at all times, and you will gain more information for you about your craft.
There is usually some time for the teacher to work with the student. A passive observer might watch and take a few notes. An active observer could try to imagine how they would take the suggestions given by the teacher. What would you adjust vocally or with your acting in response to what the teacher is saying? You also might observe tactics the teacher uses to get results and think about what other exercises could be suggested to work toward the same goal, and then take notes on those ideas too. Or imagine how you might apply the same notes to a piece you are working on.
During the coaching, where can you double observe? Of course you will watch the coaching, but where else is useful information in the room? Are there other master teachers in the room? How are they responding to the teaching methods? What about the peers of the student? Are they surprised by an adjustment made and why were they surprised? Is this information for a tactic or teaching method that is useful to record and repeat?
When the coaching is done, you should journal your general take-aways from each session. Take the time to write what you learned and what other questions remain. Being inspired to seek out more knowledge is a common outcome from masterclasses. We realize there are so many different people to learn from, so what do you still want to learn? We should always be growing and questioning as artists, so write a quick reflection in between each student.
If you are one of the lucky participants in the masterclass, make sure you have someone video record your session, because you will be trying to respond in the moment to the coaching you receive and you will have almost zero memory of the actual experience. You will want to go over that video in detail later.
To prepare as a participant, make sure you read the class description and bring an appropriate piece to the class. So often, people bring their competition song no matter what, and it might not be appropriate for that class content.
Once you have your content, you simply must prepare. Hopefully you have mentors in your life who nag you about this all the time—but just in case you don’t, these are the absolute musts:
- Ensure You Know the Song Inside and Out: Don’t just memorize the lyrics—be sure to understand the character’s emotional arc, the context within the show, and the meaning behind the song. Be ready for the teacher to ask, “How old is this character?” or “Where were they born?”
- Warm Up Your Voice: For most people, masterclasses bring up extra nerves. If you’re not accustomed to performing in front of an audience or receiving direct feedback from a professional, your voice may feel extra tense or nervous. Proper vocal warmups can help you avoid tension, relax your vocal cords, and perform at your best.
- Be Open to Feedback: This teacher may ask you to do something you have never done before. Just go for it. Being hesitant about new teaching tactics or unwilling to try wastes your time and that of the audience. Plus, you might find a path to a new skill you couldn’t even have imagined.
But you also need to prepare for things that might happen specifically in a masterclass. Your teacher will surely say, “Let’s take it from the second chorus” or “Can we start on the third line of the second verse?” Do you know your song well enough to pick up anywhere? Have someone prompt you at home starting in random spots of the song to make sure you will be able to do so in front of a crowd.
After the class, take time to reflect on what you’ve learned and the feedback you received. What worked well in your performance? What areas need improvement? What can you practice at home to develop your technique further? How did it feel? Acknowledging both your strengths and weaknesses will help you maintain a balanced approach to your craft.
And our favorite part of masterclasses is…networking! Attending a masterclass is not only a chance to improve your craft but also an opportunity to connect with other students, instructors, and industry professionals. Networking is essential for building a career in musical theatre or opera, and masterclasses are an excellent environment for cultivating these connections. We know we are supposed to network, but it can be painful. So sometimes I tell myself, “You can’t leave until you talk to two new people.” Sometimes those chats last a few sentences and nothing comes from them, but sometimes a chat might turn into a number exchange, and there is your new contact!
Also, I try to just sit and be open. I come early. I don’t sit in the back. I stay off my phone! No one is going to start a conversation with someone who looks like they are working or otherwise busy. By coming early and sitting with a generally positive look on my face, I make myself approachable for others who want to network.
I often introduce myself to whomever I can. Obviously, the teacher, but the accompanist too. Maybe it appears the teacher has a colleague in the room. Great person to introduce yourself to! I feel like people think you need a reason to approach someone, like you need a question to ask. You don’t! Just walk up and say, “Thank you for being here today,” and share your name, where you are from, and why you are there. It can be a short interaction, but you are much more likely to remember the people in the room with that personal interaction. And then the next year, you may see someone again…and the year after that…and by then you feel like old friends.
A singing masterclass can be a transformative experience for a student who is committed to improving their craft. By actively observing from two points of view while also preparing thoroughly, embracing feedback and networking with others, students can maximize the benefits of the class and continue to grow as performers. Most importantly, approach the masterclass with a mindset of curiosity and openness to learning. The skills you acquire and the connections you make could very well shape your musical future.
