Eugene weekly., June 21, 2007, Page 25, Image 25

and yoga? “It’s imperative for singers,”
Hibbard says, “because we are our
instruments. We are the physical mani-
festation of our music. I always say we
should be singing athletes.”
As the exercises progress, Hibbard
plays a diverse, sometimes jarring kalei-
doscope of music. Greensleeves to Green
Day, Bach to Bobby McFerrin. “I try
everything,” says Hibbard. “Because you
never know what’s going to hit.”
Movement training also helps the stu-
dents work together and evoke passion in
their performances, realizing what it takes
to be a pro.
“They come to us as race horses,” says
Hibbard. “We harness them in and teach
them to work together. That’s why I have
them move together and stand in sections.
It’s not random. From the moment they
begin, they are working as an ensemble.
Royce and Helmuth send that message
from the top down: It’s about the music and
the festival, not about ego or being stars.”
does everything else. Clark is father,
counselor, planner, cheerleader and
sometimes nurse. “He allows me to be a
musician,” says Armstrong. “He’s played
bad cop. I get to be good cop.”
“Be cool,” Clark tells the students.
“Be smart. Quiet. Attentive. And, as
eight other Youth Choral Academies
have done, you’ll be spectacular tonight.
This afternoon must be quiet time.
Today, take care of yourselves.”
It may be the last day, but Armstrong
wastes no time. This last rehearsal is more
serious, more tense. So are the students.
They are visibly fatigued, slouching on the
risers but sticking with it. Hibbard walks
around the front of the stage. She tells
them to move, to bring their faces out.
Armstrong continues polishing sylla-
bles. Then he takes a moment to look at
them. “To be a musician, you have to
trust,” he says. “I love you. Just trust me.”
They sing; then he stops them. “You must
not rush! One more time, straight through.
Shake it baby, shake it. Shake it out.”
Registration & info at following locations:
Eugene Running Company,
REI, and The Step Beyond
J ABBERWOCKY
Back at rehearsal with Armstrong, the
students move from Mozart, Pentecost,
and Latin to a light-hearted choral rendi-
tion of Lewis Carroll’s Jabberwocky. “I
need to feel that creature coming over my
shoulder,” says Armstrong. “That jabber-
wocky is always coming, so you better
beware.” They erupt in laughter.
“Women, I don’t want it any louder.
Can you just sound more frightened?” As
they sing, he narrates, bringing cinemat-
ic drama to the story.
“Can we see that vorpal sword?” asks
Armstrong. “He starts to daydream. And
then all of a sudden that sucker’s behind
him! Can you see snot coming out of his
nose? Drool coming out of his mouth.
Bad teeth because he needs an orthodon-
tist? That’s what we need to see here.”
He works on the “ka” sound in “snicker
snack.” The “d” on “dead.” “Dead you suck-
er!” Armstrong shouts over the singing.
At the end, dead silence. Armstrong
looks up and smiles. “Did he get it?
Return of the Jabberwocky. The sequel,”
he says, allowing a moment of laughter
before drawing them back into focus.
“I was pretty comfortable working
with Armstrong,” says Andre Hayes, a
student who entered the academy as a
graduate of Reynolds High School in
Troutdale. “It felt more like a personal
level than a professional level working
with him. He definitely makes you feel
like you’re an important individual.”
Hayes wants to be a choir teacher
some day. “I really enjoy it when a big
group of people is passionate about some-
thing like music. It can bring people
together. It’s the most beautiful sound in
the world.”
L AST D AY
On the last day of the program, the
students are physically and emotionally
exhausted, but they also have their big
performance left.
“It’s a huge load you have to carry,”
says Richard Clark, associate professor
emeritus of the UO music school and
director of the academy. Armstrong
teaches them how to sing, Hibbard
teaches them how to move and Clark
B IG N IGHT
Backstage, the students are gathering.
They seem younger dressed up than they
did in jeans and flip-flops. They talk
excitedly, giving hugs and helping each
other with their outfits.
“Without talking, focus your energy.
Breathe,” says Hibbard. The students
stand in rows and give each other back
rubs. “Strong bodies. Strong minds.
Warm hearts. Be righteous.”
Armstrong comes in and leads them
through some vocal warm-ups. “You’re
only as strong as the weakest mind. Don’t
be that person,” he says. A few more sylla-
bles to work on, and then it’s over. No more
polishing. Just enough time for a pep talk.
“I want you to go out there tonight,”
says Armstrong, “not to impress these
people but to give them the best that you
are. Not to get a one for your district com-
petition. I hate those things. When you
return to your schools and go back to your
choirs, you cannot go back with an atti-
tude of superiority. Then you have not
learned a thing we have taught you.
Share. Don’t be a know-it-all. You will be
the ones not talking, the ones taking notes.
Encourage others to try out for this. Take
what you got in here and let it feed you.
“When we started this program, it
was just for students from Lane County.
After that first year, I almost thought it
was not worth coming back. But
Helmuth Rilling believed that every year
the festival could do better. Helmuth was
a maestro, but he was not arrogant about
it. He built up this festival. Nine years
later, you are the finest Youth Choral
Academy I have taught.
“Be righteous people. Let your music
lead you. Let your creativity lead you.
Not destruction. Music is a means of
grace. A way that you reach back into the
world and create change.
“You have worked hard these 10 days.
It’s not so bad to work hard, is it? Look
at all you have accomplished.” He turns
to Clark. “They’re all yours,” he says, and
the students applaud Armstrong as he
leaves for his dressing room.
The tenth Youth Choral Academy performs at 7:30 pm Friday, July
6 at the First Baptist Church on Coburg Road. Tickets are $15-$27 .
For tickets and more info, visit http://bachfest.uoregon.edu
O REGON B ACH F ESTIVAL 5