?Here is the good news: There are so many supportive hints by the composer in the opera score,

When you follow the advice given by the composer, and your vocal technique is healthy and brilliant, you feel the ground beat in your body, then magic can happen between the orchestra and you! The conductor will guide you with love for the music and passion for the art.

Make sure you are able to sing at the orchestra rehearsal with full voice. Sometimes if the schedule is tight, you can discuss with the conductor to mark one rehearsal, especially when you have to sing a heavy big part or leading role. Later on in your career when you are a more experienced artist you might be able to weave your own interpretation ideas with the composers ideas, too.

Always remember that to be an opera singer does not mean to shine through your ego, it means to serve the music with your unique beautiful soul and artistry. I remember in most of my big dramatic roles I was feeling so comfy in this sound bubble created by these wonderful instruments around me, that I was totally absorbed in this music and character I was singing. Then Opera is in this moment is a better world because of this incredible music.

?My advice is: Fall in love with the music (not only with your melody) then most conductors will be by your side?

You will find more details about the good spirit we have to nurture and shout out in the opera and music business in my e book: “Methode Stimmkunst.” You can order it through my website: www.stimmkunst.ch

To your greatness
Vera Wenkert

DO NOT RUSH INTO THIS DEMANDING REPERTOIRE AS A YOUNG SINGER

The chief characteristics of Wagnerian music are beautiful long phrases combined with a brilliant, emotional text and a big orchestration underneath the vocal line. This demanding music requires you to have a solid technique. Not only this, but I have learnt from my time on stage that it is a great help to have some stage experience beforehand. Having this, you can float on the music and orchestra and you are able to taste the German diction in this beautiful music, and you can caress the text and music together. There is also the big misunderstanding that Wagnerian music always has to be sung loud. On the contrary, if you study the orchestra part of a Wagnerian opera you will find so many piano markings and other dynamic wishes of Wagner himself. Do not to forget: Richard Wagner loved Bel Canto!

As a result of the intense emotion in Wagnerian repertoire, a singer sometimes starts to push the voice…then you can really harm yourself! Last week, a Wagnerian singer travelled to me to work on Sieglinde. During the lesson I could hear that the coaches at the opera house have put her too much in the “diction mode” in the front of her mouth in the narrative “Der Männer Sippe…” I completely understand why the coaches wanted this crystal clear diction, but it has to be produced in the RIGHT WAY.

So, my suggestion for you Wagnerian singers is: Study your roles early enough, sing it in your voice with the help of your voice teacher and then go into the theater rehearsal process. From my own experience and love affair with Wagner’s music, I can confess that this is the most efficient and joyable way to improve significantly in this repertoire whilst remaining healthy.
This is also how I work with the Wagnerian singers in my studio. If they are vocally well trained and musically ready, they can concentrate on all the other obligations they have in an opera production.

?Affirmation for the day: I allow myself to grow into my future-self of a radiant Wagnerian singer.?

With appreciation
Vera Wenkert