• In what ways do you think your choir represents the Russian choral tradition? • What are your repertoire preferences for your choir? For example, what is the
balance between Russian and non-Russian repertoire?
• How do you select voices for your choir? What are your requirements and your expectations?
• How do you think the Russian choirs fit into the Global choral community? • In what ways the Russian choral sound respond to the contemporary choral scene
requirements if there are such at the international competitions?
• Are there any differences in vocal production that you can hear from choirs around the world? Asia, USA, Europe?
• Describe how you use vocal modeling. How do you shape the choral tone? • What vocal school do you think has most influence on the Russian choral sound? • Is the choral sound somewhat unified across Russia or you may want to discuss
some variety in approaches and preferences across the country?
• How do you think the existing recordings of your choir’s performances represent the choral tone of your ensemble?
• Would you discuss the evolution of choral sound over the last two decades, based on your listening experiences?
• What are your observations of the Russian choral tradition’s response to border openness?
• What about the audiences for your concerts? What kind of repertoire seems to attract listeners today?
• In what ways does the Ministry of Culture or other governmental bodies get involved regarding your repertoire and concert venues, if at all, including your choir’s participation in international festivals and tours?
• How is your choir perceived and evaluated by music critics writing for the press? • What is your first memory of exposure to an international choral festival, whether
as conductor or jury member?
• Do you feel there are regional or country-specific tendencies in the production of choral sound? In other words, do you believe in national choral schools?
• What is the relationship between Russian church choral sound tradition and concert repertoire? (be that sacred or secular)
• Are there differences in how you approach work with choral sound when dealing with historical repertoire as opposed to dealing with works by modern choral composers? What about your approaches to the choral sound in the works of Russian composers vs. those of composers from other nations or national traditions?
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