LA VOIX HUMAINE
Workshop ‘La Voix Humaine’ Syllabus
Session 1 (2 hours)
Pre-concert lecture: ‘Music in Paris at the time of Poulenc, Cocteau and Piaf.’ (20 minutes)
Performance of songs by Edith Piaf, Barbara and Poulenc (20 minutes)
Pause for questions from the students (20 minutes)
Introduction to Poulenc’s work ‘La Voix Humaine’ (15 minutes)
Staged performance of ‘La Voix Humaine’(45 minutes)
Michelle Mallinger, soprano
Hans Schellevis, pianist
Hans Nieuwenhuis, stage director and lecturer
Session 2 (1 hour)
Understanding the score: A lecture for pianists, singers and composition students regarding the interpretation of Poulenc’s piano score of ‘La Voix Humaine.’
Hans Schellevis, pianist and score editor (main lecturer)
Michelle Mallinger, soprano
Hans Nieuwenhuis, stage director
Session 3 (3 hours with a 20 minute pause)
Masterclass for singers and pianists
The interpretation, language, diction and drama of ‘La Voix Humaine.’
6 singer/pianist duos, 25 minute coaching sessions in a public or closed masterclass setting.
Michelle Mallinger, soprano, vocal coach
Hans Schellevis, pianist, piano coach, interpretation
Hans Nieuwenhuis, stage director, drama and interpretation
Session 4 (1 hour): optional
For bookings and more information, please email us at or click here.
Hans Nieuwenhuis studied law at the Vrije Universiteit in Amsterdam, before devoting his professional life to the theater as an actor, designer, writer and ultimately as a stage director. He assisted several renowned opera stage directors including Götz Friedrich, Harry Kupfer, John Cox, David Pountney, Lotfi Mansouri and John Copley and made his directing debut with the Netherlands Opera in 1979. He was a resident stage director for this company from 1979 -1984 and directed new productions in Amsterdam of La Bohème, Parsifal, The Merry Wives of Windsor, Rita, The Old Maid and the Thief (Menotti) and several world premieres.
His international career started in 1981 with the staging the USA premiere of Philip Glass' Satyagraha for the Brooklyn Academy of Music in New York and the Art Park Festival (Lewiston, NY). After that he directed more then 80 productions around the world. He worked for L’Opéra de Nice in France, The Canadian Opera Company, San Francisco Opera, Manitoba Opera, L'Opéra de Montreal, Opera Colorado, Long Beach Opera, Hawaii Opera Theatre, Western Opera Theater, Opera Omaha, Lincoln Center New York, Pacific Opera Victoria (Canada), Bangkok Opera and many other companies in Europe, Asia and North America.
During the last three decades Hans Nieuwenhuis has devoted himself to aspiring young opera singers: he has taught and directed for the Canadian Opera Company Ensemble, the San Francisco Opera Merola Program, Curtis Institute of Music in Philadelphia, Yale University and Michigan University in the USA, McGill University in Montreal, the music conservatories in Utrecht, Amsterdam and Maastricht in the Netherlands, the Sichuan Conservatory and the Ninxia Conservatory in China and the Tchaikovsky Conservatorium in Moscow. He is also a regular guest teacher at the Opera Studio of the National Theatre in Tokyo and has given Master Classes in the Netherlands, USA, Thailand, Russia, Germany, Hungary, Croatia, Italy, France, Canada, Austria, Belgium, Estonia, Japan, Ukraine, Oman and China. Recently Mr. Nieuwenhuis returned to Yale University to direct two opera evenings and he worked again with singers of the New National Theatre Opera Studio in Tokyo. Currently he works with young singers in the Netherlands, France, Belgium ,Estonia, New York, China and Canada and for summer programs in France and Italy. He is also active as a guest teacher, speaker, casting advisor and opera consultant. This season he directed La Voix Humaine by Poulenc in Haarlem, The Netherlands.
Curriculum Vitae Hans Nieuwenhuis: http://www.hansfmnieuwenhuis.nl/Resume.html
Hans Schellevis received his training as a pianist at the conservatories of Amsterdam and The Hague. He made his name as an accompanist for both instrumentalists and vocalists and played recitals in Belgium, Germany, France, Italy, Spain, Czech Republic, Denmark, Norway, Great Britain and the United States.
In addition, he accompanied master classes by, among others, Nelly Miricioiu and Elly Ameling and made numerous radio and television recordings for the Dutch public broadcasting companies. He played concerts with Cristina Deutekom, Nelly Miricioiu and Bernard Kruysen and was, besides a vocal and repertoire coach (for Opera Studio Netherlands among others), a much sought after accompanist at international singing competitions. As repetiteur, Hans Schellevis was linked to the NTR-ZaterdagMatinee from 2001-2013.
Since 2006 he has worked as score editor for companies as Opera Rara in London (Mercadante: Virginia and Donizetti: Parisina) and NTR-ZaterdagMatinee (Donizetti: Caterina Cornaro). In 2015 he published a critical edition of Cherubini’s Missa pro defunctis(Requiem) for Bärenreiter and in 2016 a new critical edition of Mayr’s Ginevra di Scozia(Ricordi). His most recent publication is a critical edition of Gounod’s Messe en honneur de Ste Cécile for Bärenreiter (2017), and at a later stage Debussy’s Images pour orchestra, Puccini’s Messa di Gloria for Bärenreiter (publ. 2018), Donizetti’s Caterina Cornaro(Masterworks of Italian Opera, Bärenreiter-Verlag), Verdi’s Aroldo(Ricordi) and Maometto secondofor Bärenreiter’s Rossini Edition will follow (publ. 2019).
Hans Schellevis has studied orchestral conducting with Denise Ham in Bournemouth, David Parry in London and Arjan Tien in Hilversum and made the switch to conducting in 2015. Among his latest engagements were Pelléas et Mélisande and Così fan tutte, both for Opera Studio Netherlands, The Old Maid and the Thief for the Peter de Grote Festival, Die Zauberflöte for AEDO, Il Segreto di Susanna and La Bohème for Nationale Reisopera (the latter production toured extensively in the UK), Pacini’s Malvina di Scozia in New York and Alex in transition by Anthony Green in Tel Aviv. Future engagements comprise Dido and Aeneas and Gluck’s Orfeo ed Euridice.
Michelle Mallinger received her Bachelor of Arts degree in Vocal Performance with honors from San José State University (CA). She enrolled at the Koninklijk Conservatorium (The Hague) where she received her Bachelor of Music degrees in Choral Conducting and Voice. Michelle’s operatic roles include Dido from Purcell’s Dido and Aeneas, La Messagera from Monteverdi’s Orfeo, Venus in John Blow’s Venus and Adonis and Béatrice from Berlioz’s Béatrice et Bénédict. She was a finalist in the Concours International de Chant Baroque de Chimay 2004 and a semi-finalist in both the 2007 Brunnenthaler Competition for Early Music in Austria and the 2008 Spazio Musica competition in Orvieto. Michelle received in 2006 her post-graduate diploma in opera from the Flanders Operastudio in Ghent, Belgium. In 2007 she was a member of the Hamburger Kammeroper’s production of La Cenerentola where she sang the title role 52 times. Michelle made her first commercial recording with Dirk Vermeulen and the Flemish orchestra Prima La Musica in 2008 with “Four Native American Songs” by Erik Lotichius. Michelle has sung solos with such conductors as Reinbert de Leeuw, Jos Vermunt, Arie van Beek and Erik van Nevel. Other highlights include the solos in J.S. Bach’s St. Matthew Passion, an English lute song recital and Haydn programme in the Utrecht Early Music Festival Fringe concert series. Between 2010 and 2016 Michelle was a soloist with the Haarlemse Opera and has participated in their first 3 productions (Malle Babbe, A Night at the Museum and Torrentius). She is a voice teacher at the Choir School of Haarlem, American English diction teacher at the Conservatory of Amsterdam and conductor of the female chamber choir Baba Jaga. Michelle was a founding board member of the Society for Vocal Music in The Hague and is currently the activities coordinator for the Stichting La Voix in Haarlem. She also works as a voice therapist at the OLVG-West hospital's ENT department. Michelle’s most recent production was ‘La Voix Humaine’ by Francis Poulenc. These performances were with Hans Schellevis, piano and stage director Hans Nieuwenhuis.