2021 – 2022 SEASON
MASTER CLASS SERIES
featuring
LYNN EUSTIS, master teacher
LYNN EUSTIS, master teacher
Explore a holistic and systematic approach
to singing, teaching, and artistry.
to singing, teaching, and artistry.
WEEKEND III
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WEEKEND III
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*Please access Roosevelt University via the 425 S. Wabash Avenue entrance.
Masks are required.
Check in at the security desk:
Photo ID and proof-of-vaccination status are required.
You will also be asked to complete a temperature check and a health-assessment questionnaire.
All of this takes a bit of time, so please plan accordingly, and thank you in advance for your patience!
Masks are required.
Check in at the security desk:
Photo ID and proof-of-vaccination status are required.
You will also be asked to complete a temperature check and a health-assessment questionnaire.
All of this takes a bit of time, so please plan accordingly, and thank you in advance for your patience!
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OVERVIEW
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CAIC is pleased to welcome Dr. LYNN EUSTIS, internationally acclaimed soprano, teacher, and author, as its featured guest clinician for the 2021-2022 season.
Over the course of the season, Dr. Eustis will preside over three individual singers’ retreats, comprised of book discussions, individual voice lessons, and public master classes. Participants will include a cohort of fifteen young artists and professionals; auditors are welcome for most events. Book discussions offer the opportunity to:
Voice lessons and master classes offer the opportunity to experience Dr. Eustis' unique and systematic approach. |
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SCHEDULE
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Each weekend retreat begins with a Welcome and Book Discussion (Friday evening), for all participants and auditors. The fifteen participants will be divided into three groups; Saturday mornings and afternoons are reserved for individual voice lessons for five singers (Groups A, B, C, respectively), who will perform with their group in a public master class on Sunday afternoon. NOVEMBER 12-14, 2021 FRIDAY Welcome and Book Discussion: The Singer’s Ego: Finding Balance between Music and Life SATURDAY Private lessons (Group A) SUNDAY Public master class (Group A) Reception JANUARY 14-16, 2022 FRIDAY Welcome and Book Discussion: The Teacher’s Ego: When Singers Become Voice Teachers SATURDAY Private lessons (Group B) SUNDAY Public master class (Group B) Reception MARCH 11-13, 2022 FRIDAY Welcome and Book Discussion: A Singer’s Epiphany: Faith, Music, and Mortality SATURDAY Private lessons (Group C) SUNDAY Public master class (Group C) Closing reception |
REGISTRATION
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PARTICIPANTS
Participant registration is open to career-oriented singers (master’s-degree level and beyond) and teachers of singing. Registration includes:
A pianist will be provided for lessons and master classes. LESSON & MASTER CLASS REPERTOIRE Each participant will choose up to two (2) songs, to be submitted no later than three weeks prior to their assigned lesson and master class. Registration is first-come, first-served and is limited to fifteen participants. Participant fee (on or before June 17): $250 Participant fee (June 18-October 16): $350 |
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AUDITOR
FEES & INFORMATION |
Auditors of all backgrounds and experience levels are welcome to attend the following events:
1) three welcome events and book discussions; 2) three master classes and receptions. Private lessons are not open to the public. AUDITOR FEES $25/book discussion $10/master class |
DR. LYNN EUSTIS,
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Lynn Eustis serves as Director of Graduate Studies in Music and Associate Professor of Voice at Boston University, where she joined the faculty in fall 2012. From 1999-2012 she served on the voice faculty at the University of North Texas, where she was also Director of Graduate Studies in Music. She holds the Doctor of Music degree in opera from Florida State University, a Master of Music degree in opera from the Curtis Institute of Music and a Bachelor of Music degree in vocal performance from Bucknell University, Phi Beta Kappa.
An accomplished author, Dr. Eustis writes eloquently about her life as a singer, a teacher, and, in her most recent book, A Singer’s Epiphany (GIA Publications, Chicago), from her perspective as the survivor of a brain tumor. Her students have been heard with Ravinia’s Steans Music Institute, the Salzburg Music Festival, the Boston Symphony Orchestra, Opera Theater of St. Louis, Dallas Opera, Fort Worth Opera, Central City Opera, Des Moines Metro Opera, Ohio Light Opera, Opera North, the Beth Morrison Project, Concert Royal (NYC), Amor Artis (NYC), Chautauqua Opera, Toledo Opera, Brooklyn Lyric Opera, New Jersey Opera Theater, the Fall Island Vocal Arts Seminar, Music Academy of the West, the Vancouver Early Music Festival, and the Boston Early Music Festival. She is a regular guest clinician at the Royal College of Music in London. A native of Long Island, New York, Dr. Eustis appears regularly as a soloist with numerous professional organizations, which have included Chorus Pro Musica (Boston), Tulsa Oratorio Chorus, the Dallas Bach Society, and the Choral Society of Durham, NC, in works such as Gloria (Poulenc), Dona nobis pacem (Vaughan Williams), Mozart’s C Minor Mass, Carmina burana (Orff) and Knoxville: Summer of 1915 (Barber). She has been heard internationally with the Americke Jaro Festival (Czech Republic), the Compania Lirica Nacional (Costa Rica), and the Guangzhou Symphony (China). Dr. Eustis has sung over thirty operatic roles, most notably the title roles in Lucia di Lammermoor and The Daughter of the Regiment, Zerbinetta, Olympia, Pamina, Susanna, Rosina, and Gilda. Recordings include Carmina burana (Klavier, 2003), featured soloist on Innisfree (GIA Publications, 2007) and Portraits: New Music for Soprano, Baritone and Piano (Capstone, 2007). In March 2010 she made her Carnegie Hall debut in Mozart’s Vesperae de Dominica. With Westminster Williamson Voices she appeared as the title soloist in the U.S. premiere of James Whitbourn’s Annelies: The Anne Frank Oratorio, a work for which she continues to be in demand. |
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INTERVIEW WITH
DR. LYNN EUSTIS |
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ABOUT THE BOOKS |
The Singer’s Ego: Finding Balance between Music and Life
Few people, other than singers themselves, understand the daily psychological conflicts that make up the singer’s world—challenges unique to those who carry their instrument in their own body. Singers must deal with crises of vocal health and self-doubt, take criticism of every aspect of their appearance, and endure the stereotypes of the “diva” label, all while communicating the most profound human emotions through their music. And while music schools do much to prepare voice majors technically, they often look past the inner turmoil that is an unavoidable part of the singer’s life. The Singer’s Ego is a groundbreaking book that explores the serious issues singers face, issues with profound implications for both singers and their teachers. From the psychological to the practical, anything that can or will affect a singer’s performance is included in this book. 
The Teacher’s Ego: When Singers Become Voice Teachers
Most voice teachers begin as professional singers themselves and now—perhaps facing the loss of their own performing identities—work to build and support their students in every way possible. In The Teacher’s Ego, author Lynn Eustis grapples with these two distinct egos, those of both singer and teacher, and reveals practical implications for any professional voice teacher. Ultimately, the relationship between a singer and a voice teacher is complex. As Eustis states, "Voice teachers who understand their own motivations are infinitely more effective in the studio than those who don’t." In this practical and thought-provoking companion to The Singer’s Ego, Eustis covers such topics as "Your Identity as a Singer," "Allowing Your Students to Be Their Own Artists," "Relations with Colleagues: A Different Hierarchy," and "Life Beyond the Teaching Studio." The book also includes questions for further reflection at the end of each chapter. 
A Singer’s Epiphany
How does an artist come to terms with a potentially fatal illness? Lynn Eustis was diagnosed in January 2014 with a low-grade brain tumor. Here she describes her experiences from diagnosis to treatment, drawing on her journal entries along with curated Bible verses and quotations from poems and literature. Blending self-reflection and humor, she explains how a deeper understanding of singing, teaching, music, and mortality has transformed her life for the better. We all struggle with uncertainty in life, especially post-pandemic, and we are all aware of our own mortality. This book covers topics such as the vital role doctors play in our lives, the difficulty of talking with students about our illnesses (and theirs), and the ways in which we can reframe uncertainty to inform our lives as performing artists and teachers. |
all performance and master class photography by Elliot Mandel