Check out the regular online events further down this page
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Check out the full Conference line-up
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Online EVENTS
SUNDAY SERIES
Register with the links below and you will be sent the ZOOM Invitation on the Friday morning. (Late registrations will be taken till 12.30pm on the day).
Free sessions use a GoogleForm, and sessions with a fee use Pay Now with POLi (read more here). If for any reason POLi doesn't work for you, please contact me on admin@newzats.org.nz to register and make a payment using regular internet banking.
Archived session recordings
People who have registered (and paid) for the session will be able to access the recording on our website via a personalised log-in.
Members' Area Archive
Sessions with NZ based speakers (which are free for members) will be archived to the Members' Area of the website.
Personalised log-ins have been launched and you can ask for a login-in set-up link by emailing admin@newzats.org.nz
Free sessions use a GoogleForm, and sessions with a fee use Pay Now with POLi (read more here). If for any reason POLi doesn't work for you, please contact me on admin@newzats.org.nz to register and make a payment using regular internet banking.
Archived session recordings
People who have registered (and paid) for the session will be able to access the recording on our website via a personalised log-in.
Members' Area Archive
Sessions with NZ based speakers (which are free for members) will be archived to the Members' Area of the website.
Personalised log-ins have been launched and you can ask for a login-in set-up link by emailing admin@newzats.org.nz
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ABOUT Barbara Paterson
Soprano Barbara Paterson returned to Aotearoa-NZ from New York City in 2016, having worked steadily as an opera and concert singer across the USA for several years. Since returning to NZ, Barbara has sung for Stroma, Java Dance, the Auckland Philharmonia Orchestra, the CANZ annual Nelson workshops, Wanderlust Theatre, NZ Opera, the Audio Foundation, the Auckland Chamber Orchestra, Unstuck Opera, Eternity Opera, NIMBY Opera, CubaDupa, Avenue Opera, the Metamorphosis Artists, and as a soloist for choral societies around NZ. Her performances of Francis Poulenc’s “The Human Voice” for the 2020 NZ Festival of the Arts were critically acclaimed as “magnificent” and “exemplary”. Barbara was a 2020 Freemasons Resident Artist for NZ Opera. She conducts Wellington’s Capital Choir and maintains a full teaching studio. Barbara started 2021 with the APO, recording NYC composer Earl Maneein's heavy metal-meets symphony orchestra composition The Brightest Of All Possible Futures for Carnegie Hall's Link-Up Education Programme. From there, she's jumped into multiple collaborations: first Plato’s Atlantis (a collaboration with drag artist and dancer The Everchanging Boy and sound artist Reuben Topzand) for Wellington’s iconic variety show, The Menagerie (at The Opera House). She’s appearing in two pieces for The Performance Arcade’s inaugural installation event What If The City Was A Theatre, first paired with dancer and fellow Metamorphosis Artist Anita Hutchins (they zipped in and out of the Wellington Cable Car), and then with Java Dance, singing with their internationally acclaimed dance work The Back of the Bus. She’ll sing with Java Dance again for CubaDupa 2021 and immediately after return to more standard opera territory, covering Donna Anna for Wellington Opera’s inaugural production of Don Giovanni. Barbara is a passionate chamber musician and she is presenting multiple concert programmes this year, first a recital of duets with soprano Georgia Jamieson Emms, and then a double bill of Olivier Messiaen’s Harawi and Arnold Schoenberg’s Pierrot Lunaire (with pianist Gabriela Glapska and a group of Aotearoa’s finest instrumentalists). Find Barbara on Facebook @BarbaraPatersonSoprano on Instagram @sopranoonabicycle 
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ABOUT Simon Ward
Simon Ward is an actor, psychologist and educator. He trained in the MA Musical Theatre program & LRAM program in teaching voice at the Royal Academy of Music (London), holds a Licentiate in Musical Theatre from Trinity College London, trained with the Actors Centre Australia, and completed Psychology degrees at Macquarie University Sydney. He has performed in London’s West End, New York City & throughout Australia in musicals, plays, opera and extensively in cabaret. Simon is a Fellow of the Royal Society for the Arts, a Member of the Australian Psychological Society, a Chartered Psychologist & Associate Fellow of the British Psychological Society, a member of the British Voice Association, the Australian National Association of Teachers of Singing, the Manhattan Association of Cabarets, of the Music Theatre Educators Alliance (MTEA), and a proud Equity UK & MEAA Equity Australia member. Simon is also a member of the MEAA Equity Wellness Committee. He has worked in the NSW Health Department, as a consultant psychologist for the Australian Ballet & works in private practice. He presented at the MTEA Conference in NYC and at the Estill Voice Symposium in London. Simon teaches on musical theatre and dance programs in Australia, regularly runs workshops for educational institutions, NGOs and creative arts bodies, and has a private singing studio. www.simonward.info You can still register below to gain access to the recording of this webinar
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In-Person Events
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26th Biennial Professional Development ConferenceFriday 23 - Sunday 25 July 2021, Wellington, New Zealand
Celebrating the diversity of vocal knowledge we have within our shores, NEWZATS hosts three days of vocal pedagogy workshops, seminars and masterclasses, networking and social events. NEWZATS invites the wider vocal community to attend. Rates have been kept low to acknowledge the year we have had, with members receiving a highly discounted rate. For full programme and timetable read more here |
PAST EVENTS
(For the password, email admin@newzats.org.nz)
21 March 2021 - Practical Breathing for SinGers - Anne Marie-Speed
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Anne-Marie has been working as a voice teacher, singing teacher, vocal, acting and accent coach for almost 30 years within film, theatre, music theatre, TV and CCM.
She established The Voice Explained (Anne-Marie Speed & Associates) in 2001 in order to promote the teaching and reach of the Estill Model within the UK and internationally alongside her other work within the performing arts industry. Since then she has regularly run popular workshops in Voice, Performance and the Estill Model throughout the world. |
She has been Professor of Spoken Word on the Musical Theatre course at the Royal Academy of Music since the course started in 1994 and was President of the British Voice Association 2001-2002. Her numerous credits include: vocal coach on Britain's Got Talent and X Factor in 2011; Britain's Got Talent 2012; voice, singing and dialect coach on dozens of West End shows and plays including From Here to Eternity which opened at the Shaftesbury Theatre, the Menier Chocolate Factory revival production of Candide, Funny Girl at the Savoy Theatre, provided voice and dialect work for An American in Paris at the Dominion Theatre in London, the new production of Obsession directed by Ivo van Hove at the Barbican, the new London production of Heathers at The Other Palace in London, vocal coach on Everybody's Talking About Jamie in the West End (as well as very much enjoying working with the cast of the new film), vocal and accent coach on the touring production of Hair, directed by Jonathan O'Boyle, vocal coach on The Man of La Mancha at the Coliseum directed by Lonnie Price. She was vocal coach on Joseph and his Amazing Technicolour Dreamcoat at the London Palladium and Ivan and the Dogs at the Young Vic. She had been working on Pretty Woman and was just about to start on City of Angels before lockdown. Her television work includes the critically acclaimed ITV drama Cilla. She was vocal coach to major leads in the live action movie Beauty and the Beast for Disney and has been very busy working with the cast for the new film of Cinderella, written and directed by Kay Cannon who wrote and directed the Pitch Perfect movies.and the just released reworking of Blithe Spirit.
Most recently she has started work as the vocal coach on the newly announced Sex Pistols TV drama Lonely Boy directed by Danny Boyle. Since 2010, Anne-Marie has been training teachers in Estill Voice Training (Estill Master Trainers), embedding it within a broader pedagogical training.
She now has more than 70 teacher trainees who have either completed or who are currently in training. They are much in demand and head or teach at some of the UK’s most prestigious training programmes, including musical theatre, drama schools and classical courses. During lockdown, Anne-Marie has shifted courses online, often working alongside respected friends and colleagues to offer quality, affordable information to anyone interested in technical voice work, performance and coaching in different styles and genres. There have been courses in other essential support skills such accents and self-taping auditions with more to come. The popularity of these online offerings means that they will continue after lockdown alongside in- person seminars, workshops and courses.
Most recently she has started work as the vocal coach on the newly announced Sex Pistols TV drama Lonely Boy directed by Danny Boyle. Since 2010, Anne-Marie has been training teachers in Estill Voice Training (Estill Master Trainers), embedding it within a broader pedagogical training.
She now has more than 70 teacher trainees who have either completed or who are currently in training. They are much in demand and head or teach at some of the UK’s most prestigious training programmes, including musical theatre, drama schools and classical courses. During lockdown, Anne-Marie has shifted courses online, often working alongside respected friends and colleagues to offer quality, affordable information to anyone interested in technical voice work, performance and coaching in different styles and genres. There have been courses in other essential support skills such accents and self-taping auditions with more to come. The popularity of these online offerings means that they will continue after lockdown alongside in- person seminars, workshops and courses.
18 APRIL 2021 - ITALIAN FOR SINGERS - DR. LUCA MANGHI
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Dr. Luca Manghi is Principal Flute of the Dunedin Symphony Orchestra, the Auckland Chamber Orchestra, Bach Musica NZ, and appears frequently with the New Zealand Symphony Orchestra and the Auckland Philharmonia Orchestra. He teaches flute and chamber music at the University of Otago, the University of Waikato and the Akaroa International Summer Festival, and has also taught at the University of Auckland and the Levallois Conservatory in Paris.
Luca was born in Parma, Italy. He studied at the Boito Conservatory in Parma, and at the Accademia Perosi in Biella, under Peter Lukas Graf. He went on to study with Sir William Bennett in Rome and with Jean Ferrandis in Paris. He won first prizes at the UFAM International Competition in Paris, the Genova International Competition, and the Concorso Cimarosa International Competition. He holds a Doctor of Musical Arts degree from the University of Otago. |
He was Principal Flute of the Orchestra Filarmonica di Parma (1991 to 1996) and the Orchestra Filarmonica Italiana (1992 to 1998). He is a member of the Donizetti Trio, which toured New Zealand in 2014 and 2019 for Chamber Music New Zealand. He has performed at the Australian Flute Festival on three occasions as a guest recitalist, and has given performances in Italy for the New Zealand Government, and at the Anghiari Festival.
He is a language coach for New Zealand Opera, and teaches at the New Zealand Opera School. Luca performs on the albums Quays (Atoll ACD882), playpen (Atoll ACD22I) and Tones (Rattle Records RAT-D089).
He is a language coach for New Zealand Opera, and teaches at the New Zealand Opera School. Luca performs on the albums Quays (Atoll ACD882), playpen (Atoll ACD22I) and Tones (Rattle Records RAT-D089).
10 May 2020, 3pm - Tessa Romano - Past
Tessa Romano - Lecturer in Western Classical Voice at the University of Otago
The Vocal Effects of Testosterone Therapy - Working with the Transgender Singer
"In the social shift from the perception of a gender binary to a greater understanding of a gender continuum within European-derived cultures, the discipline of singing finds itself in a period of rapid evolution. This shift has brought about the emergence of new voices: those of trans gender and gender queer people. As vocal professionals, it is the job of voice teachers to understand how to work with every voice. The topic of this poster paper is rooted in this necessity and focused specifically on the vocal challenges presented by the use of testosterone therapy for some trans masculine and non-binary singers."
The Vocal Effects of Testosterone Therapy - Working with the Transgender Singer
"In the social shift from the perception of a gender binary to a greater understanding of a gender continuum within European-derived cultures, the discipline of singing finds itself in a period of rapid evolution. This shift has brought about the emergence of new voices: those of trans gender and gender queer people. As vocal professionals, it is the job of voice teachers to understand how to work with every voice. The topic of this poster paper is rooted in this necessity and focused specifically on the vocal challenges presented by the use of testosterone therapy for some trans masculine and non-binary singers."
7 June 2020, 3pm - Hannah Thompson-Holloway - Past
2020 Barbara Nicholls Memorial Scholarship Recipient
CCM Vocal Pedagogy - Research and Practice
"Teaching CCM singing can be daunting! There are so many styles and techniques lumped together under that umbrella. Don’t get me wrong, it’s a great umbrella, but how often have we stood under it and freaked out a little? I know I have, so I decided to focus my Masters research on breaking down some of the ‘stylistic’ vocal techniques and elements of the three most commonly taught CCM styles in New Zealand; jazz, pop and musical theatre. I started out exploring what was currently ‘cool’ in these styles, focusing on Grammy winners, listening and comparing. I did a lot of reading too! There is more and more fascinating research on CCM vocal pedagogy being published all the time. It can be difficult to navigate sometimes with many of our great pioneers approaching CCM from different angles and using different language, but I promise the journey is rewarding. After attempting to categorise and summarise techniques in these styles, I wanted to apply my research and explore my findings with my own voice. How would a singer approach these styles authentically, while taking into consideration their voices natural tendencies? And what happens when you try to do it concurrently and in the space of a year? That’s the adventure I went on in 2018. I learnt so many things about vocal techniques and the uniqueness of every individual voice. It has greatly influenced how I approach singing and teaching CCM styles, and I would love to share some of my findings with you."
CCM Vocal Pedagogy - Research and Practice
"Teaching CCM singing can be daunting! There are so many styles and techniques lumped together under that umbrella. Don’t get me wrong, it’s a great umbrella, but how often have we stood under it and freaked out a little? I know I have, so I decided to focus my Masters research on breaking down some of the ‘stylistic’ vocal techniques and elements of the three most commonly taught CCM styles in New Zealand; jazz, pop and musical theatre. I started out exploring what was currently ‘cool’ in these styles, focusing on Grammy winners, listening and comparing. I did a lot of reading too! There is more and more fascinating research on CCM vocal pedagogy being published all the time. It can be difficult to navigate sometimes with many of our great pioneers approaching CCM from different angles and using different language, but I promise the journey is rewarding. After attempting to categorise and summarise techniques in these styles, I wanted to apply my research and explore my findings with my own voice. How would a singer approach these styles authentically, while taking into consideration their voices natural tendencies? And what happens when you try to do it concurrently and in the space of a year? That’s the adventure I went on in 2018. I learnt so many things about vocal techniques and the uniqueness of every individual voice. It has greatly influenced how I approach singing and teaching CCM styles, and I would love to share some of my findings with you."
5 July 2020, 3pm - Julia Booth - Past
Julia Booth - NEWZATS Council Member
Teaching CCM: Toolbox for Teenagers
"It can be quite a leap from navigating the often convoluted world of voice science and pedagogy to a typical itinerant singing lesson for teenagers. The reality of preparing high school students for NCEA exams is that there is often too much to do with too little time. So how do we as teachers optimise our limited contact time with meaningful, bespoke guidance to help prepare singers successfully for a ‘convincing’ performance. Synthesising science and style is a art in itself in any genre, but when the style itself is more unfamiliar to the teacher, it can be daunting. Contemporary Commercial Music can sometimes leave a teacher, who has trained with more traditional techniques, wondering: How do I know what is “right”? or How do I teach something I’m not comfortable demonstrating? Sprinkled with physiology of the body and voice, this workshop will focus on practical tools for eliciting creative thinking from students for deeper artistic engagement as well as common traps and key tips for teaching CCM to teenagers."
Teaching CCM: Toolbox for Teenagers
"It can be quite a leap from navigating the often convoluted world of voice science and pedagogy to a typical itinerant singing lesson for teenagers. The reality of preparing high school students for NCEA exams is that there is often too much to do with too little time. So how do we as teachers optimise our limited contact time with meaningful, bespoke guidance to help prepare singers successfully for a ‘convincing’ performance. Synthesising science and style is a art in itself in any genre, but when the style itself is more unfamiliar to the teacher, it can be daunting. Contemporary Commercial Music can sometimes leave a teacher, who has trained with more traditional techniques, wondering: How do I know what is “right”? or How do I teach something I’m not comfortable demonstrating? Sprinkled with physiology of the body and voice, this workshop will focus on practical tools for eliciting creative thinking from students for deeper artistic engagement as well as common traps and key tips for teaching CCM to teenagers."
2 August 2020, 3pm - Calvin Peter Baker - PAST
Calvin Peter Baker - NEWZATS co-Vice President
Female voice characteristics in late adolescence: A preliminary report
"Over the last 60 years, male adolescent voice change (MAVC) has been well documented. Studies examining the extent and magnitude of the secondary descent and pubertal growth of the male laryngeal structure and its acoustical correlates have become plentiful and available for voice teachers in choral and studio-voice contexts to make use of. Conversely, information regarding the physiological and acoustical changes that occur in the female voice has as yet been sparsely researched. While there have been several seminal studies on this subject, there is much work to be done if we are to understand how the female voice is affected by pubertal growth during adolescence. As a part of his current PhD research (School of Music, University of Auckland), Calvin will describe the current state of knowledge surrounding female adolescent voice change (FAVC). An overview of the MAVC will also be briefly described. The research will then be viewed in a practical, pedagogical light. Ample time will be given at the end of this lecture for questions from attendees surrounding adolescent voice change (AVC) in general, and teaching studio voice in the secondary school context."
Female voice characteristics in late adolescence: A preliminary report
"Over the last 60 years, male adolescent voice change (MAVC) has been well documented. Studies examining the extent and magnitude of the secondary descent and pubertal growth of the male laryngeal structure and its acoustical correlates have become plentiful and available for voice teachers in choral and studio-voice contexts to make use of. Conversely, information regarding the physiological and acoustical changes that occur in the female voice has as yet been sparsely researched. While there have been several seminal studies on this subject, there is much work to be done if we are to understand how the female voice is affected by pubertal growth during adolescence. As a part of his current PhD research (School of Music, University of Auckland), Calvin will describe the current state of knowledge surrounding female adolescent voice change (FAVC). An overview of the MAVC will also be briefly described. The research will then be viewed in a practical, pedagogical light. Ample time will be given at the end of this lecture for questions from attendees surrounding adolescent voice change (AVC) in general, and teaching studio voice in the secondary school context."
6 September 2020, 3PM - FLORA EDWARDS - Past
Flora Edwards - NEWZATS Founder
La Voce Chiusa - What Kind of a Voice is That?
"That was a question that was left unanswered for a very long time despite my asking it of several leading teachers of singing at international conferences. The term literally means a closed voice which to most of us seems counter-intuitive to the way we are accustomed to think of the human voice. Surely it should be free, open to the air and our tone ringing out forward? But when the leading teachers used the term voce chiusa, it was obvious that they were describing a vibrant timbre complete in every aspect of vibrato rate and balanced formants. Voce Completa, yes, but Voce Chiusa, surely not? I finally found a definition which described Voce Chiusa as a half forgotten bel canto technique to adjust the vocal tract so that the larynx was positioned lower and all vowels could be produced from there without destructive muscular tension to vocal timbre. The breathing coordinations of the appoggio system were also an integral part of the technique. I formulated the idea that the larynx was “en-closed” in a lengthened tract that gave the vibrations from the folds access to increased resonating spaces."
La Voce Chiusa - What Kind of a Voice is That?
"That was a question that was left unanswered for a very long time despite my asking it of several leading teachers of singing at international conferences. The term literally means a closed voice which to most of us seems counter-intuitive to the way we are accustomed to think of the human voice. Surely it should be free, open to the air and our tone ringing out forward? But when the leading teachers used the term voce chiusa, it was obvious that they were describing a vibrant timbre complete in every aspect of vibrato rate and balanced formants. Voce Completa, yes, but Voce Chiusa, surely not? I finally found a definition which described Voce Chiusa as a half forgotten bel canto technique to adjust the vocal tract so that the larynx was positioned lower and all vowels could be produced from there without destructive muscular tension to vocal timbre. The breathing coordinations of the appoggio system were also an integral part of the technique. I formulated the idea that the larynx was “en-closed” in a lengthened tract that gave the vibrations from the folds access to increased resonating spaces."
22 November 2020, 3pm - Stephanie Acraman - Past
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Stephanie Acraman - Lecturer in Voice at University of Waikato
Enabling Success for our Young Singers "My study across recent years has been in regards to how we teach our singers of today, what our culture of singing teaching is, and how we can enable young artists to be the very best young people they can be, and as a result, the very best performers, communicators and often teachers of singing. Too often we see the culture of the performing arts as strongly competitive, in a highly negative way, which hinders our talented young artists from finding a deeper confidence in themselves, and their abilities. When singers find a deeper assurance in who they are, how to support their colleagues, travel the long journey of learning and discovery growing a hunger for knowledge and development, they learn how to ‘fail’ and gain from these experiences. They learn about healthy competition, and constructive criticism, rather than negative and defensive approaches to their colleagues. They learn, and we as their teachers learn that perfection cannot be the goal." |
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Regional events
Members; if you are planning a concert or event, please let us know via email and we can list it on the regional pages listed below.
Last year we launched our Regional Workshops fund. It's a great time to begin planning some regional meetings and/or workshops. With our eyes opened to the capabilities of video-conferencing, these could be coordinated to be linked via online conferencing to other regions. If you have ideas for a voice workshop you would like to run, please contact us. Likewise, if you have studio or home suitable for hosting others, let us know.
Last year we launched our Regional Workshops fund. It's a great time to begin planning some regional meetings and/or workshops. With our eyes opened to the capabilities of video-conferencing, these could be coordinated to be linked via online conferencing to other regions. If you have ideas for a voice workshop you would like to run, please contact us. Likewise, if you have studio or home suitable for hosting others, let us know.
