By the last week in June, The Juilliard School is a pretty desolate place. Students and faculty alike have departed for summer gigs or other warm-weather plans. Hallways that are normally cluttered with instrument cases or dancers limbering up are empty. Indeed, there are signs hung in the halls reminding students that practicing in the building is forbidden. It is during this time that the Juilliard Evening Division presents workshops for the general public, designed for music professionals and laymen alike.

Judith Clurman. Photo by Nan Melville

One of these workshops is the Complete Choral Musician, which was held on June 27 and 28 for its second consecutive year. This workshop, the brainchild of Judith Clurman, Juilliard's director of choral activities, is designed for the professional enrichment of anyone involved in choral music—whether it be in a public or parochial school, or sectarian setting such as a church or synagogue. Limited to 40 participants so as to maximize individual attention and hands-on participation, the workshop has become a popular event (advertised on the Internet and in various choral and professional music publications) that draws choral directors from as far away as Georgia, New Hampshire, and even Canada and Puerto Rico.

"I learned so much last year, I just had to come back for more," said Joseph Lyttle, a music teacher and choral director at Freehold Middle School in Freehold, N.J. Lyttle was one of several returning participants who attended to enhance their conducting skills and continue their development as choral leaders in a school setting. Most of the participants work with choirs—though some sing, as well as conduct. A pleasant by-product of attending the workshop was having the opportunity to network with colleagues and share thoughts and experiences, including what repertoire had brought each the most success.

Cantor Arik Wollheim of Congregation Agudath Sholom in Stamford, Conn., also wanted to enhance his conducting skills and his ability to communicate to the volunteer adult choir he conducts at his synagogue. Though an accomplished singer with a master's degree in opera from SUNY, Wollheim had not had to conduct until taking his position at Agudath Sholom. "Having a chance to work with Judy Clurman showed me how much I have to learn," he observed.

The value and popularity of this workshop are no accident. Clurman, whose passion for choral music is immediately evident, has succeeded in attracting workshop leaders who are experts in their particular fields. Every session was led by someone who could be included in a "Who's Who in Choral Music." The session on Alexander Technique was taught by Jessica Wolf, a certified Alexander instructor, who was able to instill within those of us who had never even heard of the Alexander Technique an understanding, even in a relatively short time, of how important our body position is—not only for our singing, but for the sake of our health and comfort in general. Vocal production and vocal health were taught by noted voice teachers Fred Carama, Cynthia Hoffmann, and Robert White, the latter two current Juilliard voice department faculty.

Other sessions included such diverse topics as "How To Record a Chorus" (with Grammy Award-winning classical producer Elizabeth Ostrow); "Opera Choruses for Everyone" (with Cori Ellison, whose opera credits are too numerous to mention); and "The Art of Accompanying" (with Nancianne Parella of the Westminster Choir College). Those of us in a middle-school setting found James Litton's session on "The Changing Voice" an extremely valuable aid in dealing with what is an all-too-common dilemma in a middle-school choir.

As its popularity continues to grow, you can be sure this workshop will be a sellout next year. Early enrollment is highly recommended!