Daily Archives: August 28, 2020

Interview with Bernice Chitiul

This interview took place online on 25 August 2020 between City’s Head of the Department of Music, Dr Ian Pace, and BMus graduate Bernice Chitiul.

Ian Pace: Today’s interview is with Bernice Chitiul, who graduated from the BMus programme in 2017. Bernice is an opera singer, who debuted as the Queen of the Night, in Mozart’s Magic Flute, with the Welsh National Opera Orchestra. She is also a pop singer and was a contestant in the Romanian National Selection for 5 consecutive years. She also works as a songwriter, Vocal/A Level & GCSE Teacher and music/video producer. See below for some links to films of Bernice.

(Bernice singing Vivaldi)

(A very different video from 2012)

IP: Bernice, it is great to see you again! Tell me some more about your musical background before you came to City? You were a renowned pop singer in Romania, then went to study at the Purcell School in London, yes?

Bernice Chitiul: My parents have been a source of musical inspiration since I was a child. They were a successful band until I arrived and ruined it all 😃 Of course the attention has shifted upon me ever since and my first original song was recorded by the time I was 4 years old entitled ”A Little Star”. I had a competition every week in Bucharest and for the rest of the days I would practice hard to get good results. I hardly had free time to spend with friends or for summer holidays. Even the Summer holiday was indeed spent at the sea side but for the Summer Contest that was happening there. This however implied that I would not be allowed to sunbathe, swim or enjoy the sea side because it would affect my singing performance as the salty air would affect my vocal folds 😃 Splendid. Most often competitions were on TV and I started making connections and so I was then invited to different Shows. Eventually I had to choose between X Factor and The Voice by the time I was called by the producers. This then led to the Eurovision Participations and slowly introduced my songwriting. On one of the shows I sang ”It is a man’s world” – James Brown & Pavarotti version which implied some classical singing too. I tried to experiment with classical singing back then, I fancied the idea of being an opera singer. One member of the jury said that If SHE could not combine both Pop and Opera singing techniques, she doubts that I will be able to. That was – funnily enough – the reason why I came to London and began my classical career 🙂 To try and see if it indeed is true. I went to Purcell School – in 2013 I had my first classical performance at the Wigmore Hall, which gave me an incredible boost in classical singing, and then chose to study at City University of London to get my 3 years intake of musical ”food” 🙂 Of course after a Master degree in Opera at the Royal Welsh College of Music and Drama let’s say that I master both pop and classical technique and yes, it is possible. It is thus best to believe in ourselves and work towards making our dream come true whatever that may be!

IP: How did you find the adjustment between the two very different types of singing, not least in terms of the physical requirements on the voice?

BC: I was so passionate about this aspect that I chose to reinforce the idea that a complete artist should be able to perform any type of music genre. I have outlined a journey from Pop to Jazz, Musical Theatre to Classical Singing in my major presentation at City University of London during my final year of study. I have explained the difference between the singing techniques and demonstrated it within a performance each. After doing my 5 years research, I then could shift from one technique to another easily. It feels like maths or music theory – once we use the perfect equation we will get the right result. Before I struggled having my larynx tired after singing only 20 minutes now I can sing as long as I wish and my voice will not get tired. Of course one needs to understand the difference between the tension on the vocal folds in both Pop and Opera.

IP: What made you choose City for your undergraduate studies?

BC: I chose City University because of the variety of modules it provides. The advanced Music Theory along with the Studio Recording/Music Production and Performance modules seemed to be just perfect for me. Also the Classical Style, 19th Century Opera Music and Composition module shaped my mindset completely to a higher level – just perfect for my next destination: Masters Degree.

IP: How did the ‘academic’ modules you studied (including studio-based ones) relate to what you were doing as a singer?

BC:The Music Theory module helped me understand the harmonic world and express myself better when talking about why the arias I sing the most are so touching. Also it enabled me to communicate with conductors and musicians in their musical language more efficiently. It enhanced my sight reading and not last, given that I am a songwriter too, I was eager to find smarter ways to compose music and approach interesting chord progressions.

The Composition and Studio Music Production added more boost to my songwriting and confidence.

The Classical Style module introduced me to relevant historic composers who made it in the music industry in a very clever way. One of the composers which had an impact on my songwriting and singing career was Haydn. He had to adapt to the English short and harmonically simple music, compose for the audience, sacrifice his vast harmonic knowledge to compose simple music, get the English audience’s attention/praise and progressively along the years make his compositions elaborate and longer. He educated his audience, and he succeeded. We all need to adapt and learn to smoothly elaborate any musical opportunity.

The 19th Century Opera Music module was a very concentrated package of information of about 60 renowned operas including music theory details, historic background, vocal analysis down to even the collaborative process between the composers and singers. This module was such a great knowledge boost to the Operatic world that was waiting for me just around the corner 🙂

IP: How about your ensemble work relating to African, Latin-American and other traditions?

BC: First of all I am very thankful for the fact that I was given the opportunity to coordinate my own ensemble module in the first year, called Berliozya. It gave me an opportunity to work with musicians, understand how to deal with individual musicians, organize/report rehearsal times and concerts. I also thank the members of the ensemble for choosing to be part of my module and taste how it would be like to work with other musicians within an ‘Opera House’ setting.

I totally loved being part of the Latin-American ensemble as I made progress in improvisation and complex rhythm writing. I also was very proud to find that later after I graduated I found myself knowing the most important songs that all the Latin American ensembles sing. I could very easily join them. It also helps me as a teacher – as I believe understanding rhythm is a key role in a successful musician and have a vast knowledge of Latin Music harmony too. Gamelan was a great ensemble to be in as well as it opened my musical horizons.

IP: What would you recommend to others thinking of studying music as part of higher education?

BC: I would recommend them to take into consideration that it may take a lot of effort, practice, sacrifice and patience. Sometimes we would have to adapt to new circumstances and if we do not have opportunities – to learn how to create them. For sure once one will finally make it, one will have a tremendous sense of achievement. City University of London would be the best place to study at as it is focused on individual careers with a lot of options to choose from. The teachers are interested in everyone’s achievement and very supportive.

IP: Bernice, thank you so much for this interview. Do you have any further links you would like to share with us?

BC: hank you for this conversation and thank you for keeping an eye on Alumni Students. Here is a performance I had at Eurovision 2018 in one of the most touristic salt mines in Romania. It was a great but also scary experience as this was a couple of miles underground. While I sang the high operatic parts my heart was in my mouth 😹

 

Interview with Anna Vaughan

This interview took place online on 22 August 2020 between City’s Head of the Department of Music, Dr Ian Pace, and BMus graduate Anna Vaughan.

Ian Pace: Anna Vaughan graduated from the BMus course at City in 2017, and is currently doing a part-time masters at Royal Birmingham Conservatoire, where she focuses on performance. During her studies she is doing a lot of educational work, focusing on the Kodály method, which she learned at City. She is currently working on a project funded by the Weingarten Scheme to get Kodály-inspired learning into primary schools. She has also been working as an ambassador for The Benedetti Foundation working alongside violinist Nicola Benedetti. Performance and Education are the two main driving forces in her career at the moment.

Anna, thank you for doing this interview! Could you tell me a little about what role music played in your education and wider background prior to coming to City?

Anna Vaughan: I was lucky enough to be in a musical family. Both my parents are incredible musicians and my father is a composer. Listening to all sorts of music was a huge part of my childhood. My parents took me to lots of concerts. I started to learn the violin in primary school, followed by the piano in later years. I played in the local orchestras, leading the South Cheshire Youth Sinfonia then co leading the Cheshire Youth Orchestra. I also got taken to the pub at a young age to play with the folk band in the local village. This was great fun!!

In terms of education in schools, there was a small music department at my school. However, I was involved in all the music activities and opportunities like playing at the Montreux Jazz festival or in Venice Cathedral. Opportunities like these helped inspire me to continue do music into later life.

That’s just a small snippet of my musical background prior to City.

IP: Can I ask what in particular attracted you to City, as you were from a family in which I would imagine there was a greater awareness of the various options available?

AV: I wasn’t prepared to go to a conservatoire at the time. Universities seemed to give a more all rounded degree. London itself was a big attraction. Specifically at City, the fact that all the tutors very active outside the university in what they were teaching was appealing. In comparison to other degrees, City offered such a wide range of modules. This was especially helpful as I did not really know what I wanted to specify in before coming to City. Alongside all the academic opportunities, the performance opportunities were attractive. Firstly the performance space was very unique but also the ensembles that City offered were incredibly varied. These were the main things that attracted me in comparison to other music degrees.

IP: Tell me some more about the types of modules you took, and areas you studied, during your time at City?

AV: First year was a great all-round year. Music in Oral Cultures (music around the world), Investigating Western Music (history of western music from 1450), Materials of Tonal Music (general harmonic analysis), Practical Musicianship and Composition.

I then went to do a study abroad semester in Australia at the University of Queensland. Here I studied about aboriginal and indigenous music, popular music and performance. I was fortunate enough to play in the orchestra they had there and in a quartet. At the end of the semester we played in the Queensland Performing Arts Centre.

I then returned to City in January and continued to study Orchestral and Instrumental Studies and Sound, Music and Moving Image.

In the third year I studied, Sound Art and Technoculture, Historical Performance Practice alongside my major projects.

Each year I took part in all the ensembles possible. These included African Drumming, Latin Ensemble, Jazz Ensemble, Balkan Ensemble, Middle Eastern Ensemble, Experimental Ensemble. And of course Balinese Gamelan!! These ensembles were so vital to my passion for performance.

As you can see, my degree became an incredibly diverse degree.

IP: How do you feel those diverse elements related to one another? Nowadays you are focusing on classical violin, yes? But has your work studying music from a plural range of cultures impacted upon that, or for that matter some of the other stuff you did when looking at music and the moving image, or historical performance practice, for example?

AV:To be honest Ian, at the time the reason I took the modules was because I thought they were so diverse and not really relatable. However, as time went on, I began to realise that the influence from music in oral cultures for example had an impact on my views for orchestral and instrumental studies. Or the things I learnt in Historical Performance Practise informed a lot of my views for Sound, Art and Technoculture.

The main impact that these diverse modules has had is the impact on my performance skills. Yes I am a classical contemporary violinist. I play a wide range of genres but focus on this in my Masters. I feel like the diverse elements of my degree has given me the tools to appreciate different genres, be able to adapt in different musical situations for example being in a recording studio, collaborating with composers, creating new music. I can make informed musical decisions due to all the knowledge I have required. All modules have had a huge impact on my tools for performance.

IP: What types of solo performance work were most important for you during your time at City?

AV :For solo performance, the masterclass workshop we got with Susanne Stanzeleit was very inspirational. The fact that we got professional tutors who were leaders in their field became vital to my success. I became very interested in contemporary music and the help I got from you Ian (Head of performance at the time) enabled me to progress in that particular area.

However, I would like to say that the ensemble opportunities I was given gave me the confidence to progress in my solo performance. There’s something to be said about the importance of ensemble playing for a solo musician. You learn an incredible amount playing with people and city offered a huge amount of that for me.

IP: And you’ve gone on to work more with Susanne, I think, since leaving City?

AV: Yes, I began getting lessons from her once I had graduated. I had private lessons with her during my time educating in London and performing with orchestras before I got into Birmingham to study a Masters. She is now my tutor at the Royal Birmingham Conservatoire.

It was a very important contact to have as it has now lead me onto where I am now in my career. I’ve found that a lot of people I met at City have lead me onto great opportunities later on in my career. Susanne is a prime example.

IP: Returning to contemporary music, which type of work, say written since 1945, have you found most of interest to you?

AV: In my second year, I performed John Cage’s Six melodies for violin and keyboard, composed in 1950. I still work on this piece as I became transfixed by its folky yet still atmosphere. I recently performed this again at Birmingham.

I also became very interested in Lutosławski’s compositions after playing Subito for Violin and Piano. I became fascinated in his orchestral works after this.

Playing Steve Reich’s Violin Phase was an amazing experience at City also. The tech team made it possible for me to explore my interest in Violin and electronics music.

IP: City is certainly a department at which, in recent years, a lot of faculty members are actively involved with new music. Do you think that sort of wider culture there inspired this type of interest?

AV: Yes completely. I was able to get the support from so many lecturers like Tullis Rennie, Claudia Molitor, yourself and many more! In the experimental ensemble, we played many new compositions. Something that hugely inspired me was playing at IKLECTIK. Having opportunities to meet and play the compositions of Michael Finnissy also ignited a passion to collaborate with composers. Creating sound walks with Claudia again widened my passion for contemporary music. All these elements of new music allowed me to narrow my passion from a broad background of knowledge. Contemporary music can be quite daunting to approach however the staff at City gave me the tools and the listening to grow my passion for it.

IP: Is there anything you would do differently if you were eighteen again now, knowing what you do? What would you recommend to others at that age considering studying music in higher education?

AV: I would change my view on myself. I had a bad habit of thinking everyone was better and I wasn’t good enough. This changed as I slowly began to find out what I wanted to do and what was unique about my musicality. You have to constantly ask yourself ‘okay what am I going to contribute to this industry’. I wish I didn’t follow what other people were doing as much.

I would tell others at the age of 18 wanting to go into music to please please please take advantage of as many opportunities as you can. I would also importantly say, your passion is important. Don’t play or create things just because other people are. Do what you have a passion for and what you feel is unique to you. Contribute to the music industry and community, don’t battle or compete with it.

IP: Do you have any particular abiding personal (not about study) memories from your time at City?

AV: Something that’s nice about City is its not a big music department. You got to know everyone. Lots of social nights in London with everyone and events at uni like the Christmas Cabaret where potentially too much wine was consumed? If that’s ever a thing.

IP: Anna, many thanks for doing this interview.