Applications are invited for the for the forth residential masterclass for eight singers and four accompanists with Malcolm Martineau at Crear from Sunday 2 - Monday 10 January 2011.

Applications are encouraged from those who have completed their studies and worked professionally for three years minimum. Please note that no graduates within the last three years, or students, will be considered.

The masterclass is aimed specifically at those who have been out of college for three years or more and who no longer have the crucial support that an educational environment provides while they are trying to make it on their own  -  there is no upper age limit.  It is precisely at this point that Malcolm Martineau's masterclass provides an intensive week in their career when it would potentially benefit the participants most.  We encourage people to apply as duos if possible, but the duo format is not mandatory.

To audition, please email your CV to info@crear.co.uk and call 01880 770369 during office hours to book your audition time in either London  -  Monday 4 October 2010 in London and Monday 8  November 2010 in Glasgow. (Place to be confirmed.)

If you are applying from overseas and are unable to attend an audition, please send a recording and a recommendation from a teacher to CREAR MM MASTERCLASS, Crear, Kilberry, by Tarbert, Argyll PA29 6YD.

Please prepare three songs with only one in English.  You will also need to bring an accompanist who will be considered if he/she wants to be.

Successful applicants are invited to arrive on Sunday 2 January 2011 at Crear, Kilberry, by Tarbert, Argyll.  There will be an outreach education visit to a local school, and a public performance at 3.00pm on Sunday 9 January.

You are requested to make a minimum donation to the Crear arts charity - space to create - of £395 towards the cost of the masterclass, which includes delicious home cooking and a very comfy bed. (We can offer a payment plan in installments.)

Katrina Waters was selected to participate in 2007.  She then went onto the English National Opera's Opera Works program, and her account of her time spent at Crear gives an insight to the Malcolm Martineau Masterclass.

I was lucky enough to be one of 5 singers and 2 pianists who were invited to spend a week at Crear in the Scottish Highlands to participate in masterclasses led by renowned piano accompanist Malcolm Martineau.
 
By way of background I should explain that I am a classically trained mezzo soprano from Australia.  I hold a BMus and PG-Dip in voice from the National Institute of the Arts in Australia.  I also graduated with a PG-Dip from the Benjamin Britten International Opera School at the Royal College of Music, London.  In addition to this, I have performed principal roles with British Youth Opera and the Britten Pears Young Artist Program, two of this countries most important training companies for young opera singers.  I am at the beginning of my professional operatic career.
 
With this training and experience in mind, I can honestly say that the week I spent at Crear learning from Malcolm Martineau and my colleagues was one of the best and most influential weeks of my classical singing training.
 
I would like to briefly explain why I think the week was so successful for me as a developing artist.  In explaining this, I would like to focus on three areas: the generous one-to-one training given by Malcolm, the support and learning received from my colleagues, and the space that allowed us to spend time learning and performing together  -  Crear, run and designed by Kate Lithgow.
 
Firstly, to be given more than an hour's one-to-one coaching by Malcolm Martineau on each day of the residency at Crear was an absolute luxury.  I have not had so much detailed coaching since the Royal College, and this residency was certainly held in a much less competitive atmosphere.  I believe the tone of the residency was influenced early on by Malcolm, an incredibly generous person and performer who approached us as colleagues.  His approach made me feel enabled as we worked through some heavy Mahler, Elgar and Brahms song cycles.

It is worth noting here that we were focussing on song repertoire.  These days, it seems that music colleges focus on creating “Opera Singers”  –  stage-animals who care about the drama and emotional truth of a piece as opposed to the finer musicianship that may or may not be required by song repertoire.  Before going to the residency at Crear, I certainly felt that I was only an “Opera Singer”, and that the world of song repertoire was closed to me.  One of the most important lessons I learnt at Crear was that song repertoire requires all the dramatic and emotional truth that an operatic role requires, and that it is not an art form exclusive to a certain type of singer.  To this end, you could say that Malcolm and the residency at Crear have consequently opened an entire avenue of music making and performing up for me.
 
Malcolm’s approach that we are all colleagues working towards a better understanding of the music we perform allowed the singers, pianists, and Crear’s associated artists and supporters to interact together in a way that was highly supportive and encouraging.  So often, a young singer’s life revolves around auditions and getting the next singing job.  This can foster a competitive atmosphere where performers do not readily share their knowledge of, let alone their joy for, singing and the music industry.  This certainly was not the case here.  I learnt so much from the other singers and pianists and was reminded that so much of our work over the years comes from the networks and friendships that we have fostered.  As a group of performers/colleagues, we also went to one of the local schools and, led by musician and facilitator David Barnard, shared our love of music  -  a most inspiring day.
 
Finally, in writing of the atmosphere at the residency, I cannot help but mention the space that is Crear.  Kate Lithgow has created an amazing space that allows performers to not only work together, but also to live and commune together.  The space not only has a beautifully appointed concert hall, complete with Steinway grand piano and views over the rolling fields and ocean, but also has wonderful facilities for artists to stay.  Additionally, there are lovely facilities which allow the artists to eat together and discuss art and life.  We were incredibly well fed and, while this may seem trivial to the readers of this reference, it certainly was not trivial for young singers and pianists at the beginning of their professional music-making life, who sometimes struggle to pay for food and board.
 
The residency culminated with concert at Crear which was recorded for BBC Radio Scotland.  While this was the end of the residency, I left feeling it was the beginning of my adventures with song repertoire and the beginning of my association with the wonderful performers I worked with and with Crear.

The Malcolm Masterclass series at Crear was one of the best musical experiences I have ever taken part in.  Its relaxed and friendly atmosphere was perfectly tailored to the needs of beginning professional musicians.  The one-on-one training with Malcom was invaluable.  Many music courses involve many more singers and teachers, but the smaller group at Crear allowed for a much deeper understanding of one another as musicians and fellow colleagues.  This allowed for much more freedom in the training process, as we felt we could experiment and find our greatest potential.  Throughout the week, Malcolm was able to observe our strengths and weaknesses as musicians and give us personal and incredibly helpful, detailed instruction.  By the end of the week, I felt I had grown so much as an artist, and the course was extremely beneficial because of its comfortable, beautiful atmosphere combined with the highest quality instruction available to young musicians today.