The class events are among the few festival constants, though unobtrusively, along with the Mission Concert and the Sunday afternoon performances of the choral masterpieces of J.S. Bach.

Many members of the audience took advantage of the opportunity to attend the six open workshop sessions. Lead by Master Class Director David Gordon and guest teachers Rosa Lamoreaux, Catherine Robbin and Sanford Sylvan, these sessions allowed listeners to develop an expanded understanding of the art and artistry needed to perform this repertoire.

An important point Gordon emphasized was that the classes were not rehearsals or performances or a competition. For the young singers, the purpose was to help them refine their interpretive skills by having them prepare and perform various Baroque-era compositions and then providing them with insights and fresh perspectives on how to make their music more appealing and understandable.

They do double duty by singing as part of the Festival Chorale, offering them a chance to become familiar with many choral classics.

ln the course of the recital, the results of the coaching the singers had received was easily apparent Their development of greater discernment in molding a vocal line according to the sense of the text, to make it vivid to the audience, could be heard and appreciated. While some of the material heard in the recital was worked on in one or two classes, much other repertoire was also refined. The sessions were not singing lessons. These young people know how to sing. The instruction they received was aimed at making them into vocal artists.

Soprano Mary Wilson was a classic case study along these lines. She prepared sacred arias by Bach and music from Handel operas and ortorios. The classes refined her vocal tone, turning her into a sensitive, subtle singing actress as well as an exciting interpreter, no matter how simple the material.

She chose a widespectrum of music. Ultimately, her Bach developed a charming musical awareness and depth, well displayed in the cantata aria "Lebens Sonne"

Handel's "Lascia ch'io pianga" from "Rinaldo," sung from memory, had a heartwarming glow.

Strikingly, in the last session, Wilson sang an "Alleluia" from "Esther, by Handel, with an exquisitely refined and agile projection. She found many delightful ways to illuminate the one word text.

Mezzo-soprano Margaret Bragle was a fine participant and performer. She prepared arias from Bach's "St. Matthew Passion" plus music by Handel and Purcell. Her two Bach concert selections set off her warmth of tone and refined delivery. She controlled her breath and energized herself to project a more soloistic-intense presence.

Tenor Sean Fallen has an airy aura which was apt for the arias from Handel's "Acis and Galatea" as offered in several classes and the recital.

Initially, his efforts in Bach arias lacked depth, but he gained understanding and made progress in his projections. He was offered insights of intelligence and taste which he utilized well. He is still developing and maturing, but he does listen and learn.

Finally, baritone Aram Barsamian whose sophisticated linguistic ability and exciting willingness to experiment with music programmed less often, was impressive. He performed an exciting Rameau selection sung with passion and nobility.

A seldom-heard selection from a Telemann opera was a broadly hilarious vocalization. It was almost campy, but compelling.

This singer obviously has an inquisitive mind and a willingness to take vocal chances. ln the last class session, he chose the florid version for castrato rather than the more usual baritone setting of an aria from the Handel opera "Partenope," and with a few hints from David Gordon, turned it into a magnificent show piece. It was a matter of thinking about the structure of the phrases and adding contrast and different ways of articulating the notes.