Diction in Opera

For many singers it is a challenge to learn and sing contemporary music or even music of composers, who nowadays are not “contemporary” anymore i.e A. Berg and A. Schoenberg. Instead of being overwhelmed by the first look of the score, take it as an interesting walk into a foreign landscape and be curious.
Alban Berg’s “Wozzeck” for example has clear patterns to follow, which you have to do to make it work for you. In “Wozzeck” the Singer has to find an honest way of expressing all of the music, plus diction in this very demanding opera. Every diction and declamation has to be articulated on the airflow and routed in a good support system. There is no character in the opera who does not get out of ones depth. The instructions of Berg are crystal clear and the singer has to follow them.

My advice is: read the whole opera. Then in an opera like “Wozzeck” first speak the text until the text and the proper articulation is your first nature. Second, learn the music and sing the text in a bel canto way, phrasing and articulating the words. This is an important step so that the voice finds, what I call the “HEALTHY SINGING PATH”.
Afterwards work phrase by phrase the words and music together which will bring you to the next step of expressing the emotion in the music.

I want to emphasize here that out of my experience, the healthiest way for every study period is to first work the basics of your role and then later carefully look at what are the emotions of the character so you can dive deeper and deeper into them.

?ATTENTION: Do not take emotional risks in these kind of operas. If you are not yet able to handle them with your vocal technique and musicality, find a way which fits you now in this moment of your development or career.

✨AFFIRMATION: I take the time and spirit to explore difficult music.

With appreciation
Vera Wenkert

Don’t fall into the trap of jealousy and envy!

Last week a singer wrote to me a request to write about jealousy and envy. She has had an outstanding success with a performance, but she was confronted with the behaviour of jealousy. Unfortunatly in every profession we are confronted with these reactions. Of course it especially hurts when you are an artist as you open your heart and soul in a performance. I would love to dedicate this weekly nugget towards all the artists who are exposing themselves with their artistry. Congratulations and appreciate yourself ? Bravo! ?

Now there are also times in every artists life where one has to cope with difficulties or what I call “desert periods”. In these periods it might be difficult to say a honest compliment to the success of a collegue. Why is it like this?

Often it is that we emotionally interpret someone else’s success as a judgment against our own lack of success. Sometimes the thoughts of artists go: “When he/she succeeds, it means I have failed.” We interpret it as a reflection on ourselves: “Why do they get to enjoy success? Am I not worthy of the same success? Why do they get to have something that I don’t?”

Many believe that jealousy or envy are emotions that concern other people. In fact, they are all about us. Envy and jealousy come from our insecurities, anxiety, and fears.
When all you do is compare yourself to other people, or at least to the image you have built of them – which is often not based in reality, you can’t focus on being present and making art. To create art requires introspection and self-connection, and when you feel jealous or envious, you are about to loose your true self.

So, what to do if you feel envious?
Ask yourself “WHAT is my jealousy telling me about myself?” Instead of asking the “WHY” questions. You will see what the underlying answers can tell you.

AFFIRMATION: I concentrate on myself with dedication and joy. On my unique artist path I am evolving my unique success ?

With encouragement
Vera Wenkert

Working with the airflow

I remember when I worked with a dramatic soprano on Brünnhilde in Götterdämmerung. (In my opinion to sing this Brünnhilde is the most challenging of the three Brünnhildes.)
We worked the whole part and I cannot emphasise enough that to get through this big emotional and technically demanding role, the singer has to know crystal clear what to do technically. I tried to convince her that she just has to think of the pitch and to trust that the airflow does the work with the open throat, that the fexible support system is working and supporting the vocal production. ? She is a very fine singer, but when nerves or a little stage fright comes in, anxiety habits sneak in and she locks the ribcage and stops the breathflow. So, in our lessons we worked a lot with exercises to free the diaphragm and to unlock the jaw. As a result she finally she got rid of the increasing subglottal pressure and her big beautiful sound came effortlessly out of her mouth. It was pure joy to hear her Brünnhilde ❤️
A word of advice from my experience on stage: Never give 100% of your voice. Sing with 80% only. Then you will sail safer through your entire career.

AFFIRMATION: Healthy singing is singing on the airflow and not trying to make a big sound with muscle strength.

All the best,
Vera Wenkert