Interview with Mary Gerbi, Former Apprentice and Current Faculty Member

Mezzo-soprano Mary Gerbi discusses her formative years as a BCI apprentice and the important role she has played as a member of the faculty. To say that Mary loves BCI is no overstatement. From coaching with Frank Nemhauser to inspiring choristers to achieve their best, Mary’s enthusiasm for BCI is undeniable and infectious. Based in Boston, Mary’s BCI experiences have taken her to cultural hotspots around North America – from the Berkshires and Richmond to Vancouver and Montreal.

BCI: Tell us about your first BCI experience. 

Mary Gerbi: In 2001, I came to BCI as an arts administration apprentice and worked in the office. Realizing that I had a bachelor’s degree in voice, the staff soon invited me to participate in vocal apprenticeship activities as well. I attended evening choral rehearsals, sang in the weekly concerts, and participated in apprentice recitals. That was all very important to me because at that point I had had a rough couple of years, both personally and professionally; my mother had passed away, and I wasn’t singing much anymore. I started singing again because of the warm, welcoming atmosphere at Berkshire Choral.

As an apprentice, how did BCI help you grow both vocally and artistically?

When I returned as an apprentice in 2002, I sang a Bach aria in a masterclass for Frank Nemhauser. He was so helpful and had lots of great musical suggestions. I also had a voice lesson with one of the soloists, who told me I had a good voice for early music; it was an encouraging exchange and a pivotal moment in my career. Of course, singing with great conductors and collaborating with amazing musicians had a major influence on my music-making.

You returned many times as a faculty member. Which singing weeks did you attend? What memories can you share?

I was in Sheffield many times, but also other destinations, including Montreal, Richmond, and Vancouver. In Vancouver, we worked on the Verdi Requiem with Duain Wolfe, conductor of the Chicago Symphony Chorus. He’s an extremely energetic leader. I’ll never forget the gorgeous performing arts center on the UBC campus where we were staying. In rehearsals at the beginning of the week, I had the opportunity to sing the gorgeous solo cues, which was a total ball for me. I also gave a lecture on the piece – kind of picking it apart musically. In Montreal, our conductor was Julian Wachner, and we sang Mendelssohn’s Paulus. I’d never sung it before, and it was interesting for me and for everyone else to be exposed to this piece.

As a faculty member, what is your role?

In the full chorus rehearsals, I am vigilant about taking careful notes, so that if anyone in the alto section needs clarification on something that the conductor said, or if there’s a particularly challenging line, then I can help with that in the sectionals. In sectionals I can give the choristers a sort of group voice class to help them expand their ranges or achieve a specific sound the conductor wants. We have lots of fun.

Faculty also teach classes or give lectures, which I really enjoy. Last summer, I spoke about the history of the requiem as a form; that was fun to put together. Some people teach music theory or diction. One of my colleagues held a class on the American choral scene. The faculty also give a group recital every week – we each sing a solo and participate in small ensembles. The choristers are so supportive and engaged, so they’re a wonderful audience to sing for.

Tell us about your experiences working with the BCI choristers. Can you share how you have seen the participants grow and learn? 

In sectionals, I tend to have high expectations in terms of tuning and rhythm. I will come up with exercises to hone their ears and their voices. I aim to guide them toward success, such as keeping the pitch from sinking in an a cappella piece. The choristers are 100% in. It’s fulfilling to watch them increase their confidence and realize their own accomplishments.

Choristers have six short days to prepare a full choral work for a live performance with orchestra. Tell us how this is achieved.

It’s a combination of many things. First of all, choristers spend a lot of time on preparation before they come. They carefully study and use BCI’s special practice tapes. It’s also the immersive experience; working on a major choral work day in and day out. It might seem surprising, but what you accomplish in a BCI singing week is equal to at least ten weeks of rehearsals with your home group.

Most importantly, the conductors that BCI hires are at the top of their field. They define the week both musically and personality-wise. They are incredibly good at what they do and they are both strong musicians and good teachers. They know what the chorus needs and they know how to explain things. I see the faculty as their back-up team: assistant coaches helping with specific issues and providing extra support off the field.

You are a faculty member for the singing week in Lenox this summer. What are you looking forward to?

I’m excited about being at Tanglewood. I’ve seen a few concerts and performed there once, but I’ve never spent an extended amount of time on that extremely famous and beautiful campus. I’m also looking forward to working with Julian Wachner again. He has boundless energy, an infectious enthusiasm for the music, and a great way of explaining it to the choristers. I also look forward to spending time with the choristers – they are such interesting people. During meals, I enjoy speaking with them and learning about their lives. These are people who are choosing to spend their vacation time with us and engage deeply in the music, and they care about the arts. It makes you feel better about the world when you are surrounded by these good people.

You’ve had a very active career. What are some of the highlights?

I’m a core member of True Concord, a professional vocal ensemble and orchestra based in Tucson, Arizona. Our first CD was nominated for a Grammy Award for best Choral Performance. This year, we issued a Christmas CD – our second. It went really high up on the classical charts. In March I’ll be joining them to perform Bach’s Mass in B Minor.

In Boston, I’ve been singing with Boston Baroque for about 12 years. It’s great to be part of a top-ranked orchestra and chorus that specializes in Baroque and Classical music. I also sing with the choir of the Church of the Advent, one the finest in the country. Additionally, I serve as Manager of Ensembles at Boston University, where it’s been great to engage with instrumental ensembles as well as choruses.