Secret how to rise and shine?

Dear beautiful young singers,

CONGRATULATIONS

Your semester at your music academy or theatre season is coming to an end. You made it! You should be proud of all your achievements. Bravo ? At this point you may be thinking about what is the absolute best thing you can do for your next step towards a singing career, to be ready to audition in autumn and shine in your future engagements at the Opera House? After your big year I recommend resting for a week or ten days to prepare your arias, your mindset and nerves etc. Once these pillars are in place you will be fresh and full of excitement for your next step!

I also want to encourage each of you to find an instructor with whom you feel easy in communication with and accepted by him/her. Someone who can healthily guide you.
I remember when I was a vocal student that it took me a while to sort through all the various options out there to find the right instructors and courses that would provide me with support for me and my special needs.

Inhale, exhale….??‍♀️

Ask yourself very honestly:
Do I need a couple of individual lessons?
Do I want to take part in a summer workshop or masterclass?
Do I feel good in a public masterclass or in a closed one?

Please take time to reflect on these topics to help guide you with your next steps.
YOU are the captain of your singing path.
???
I love seeing my students grow in the singing lessons & masterclasses that I give. I give masterclasses & workshops not open to the public because I am a strong believer that it is easier to solve certain topics in a protected environment. If you are curious to see how I work, take a look at my website to see what is going on in my studio:

www.stimmkunst.ch

???

QUESTION TIME
I have been writing my weekly nuggets now for two years. I started doing these because I wanted to give you all a gift, show my passion for singing and helping young singers. I hope you enjoy my nuggets and take whatever it is that you need from them. So today is our anniversary together! ?

For our special “weekly nugget” anniversary, I would like to do a question time for you all today. So if you have any questions regarding singing or performance issues you might be having, feel free to comment on here or send me pm today. I would love to hear from you!

Best wishes from my heart,
Vera

*Photo with Charlotte Whittle and Aaron Sands rehearsing Die Walküre. Here we are talking about how colleagues can support each other’s singing whilst on stage together.

Weekly Nugget: How to study a dramatic part

Dear beautiful singer,

the most important thing: You need time to delve into the score and let it sink into your system.

The first step young dramatic singers is to work in the complete technical control of your voice and body.

Second step is to explore the music and orchestration and to sing in this way that you are not carried away by this huge incredible orchestral sound. Your voice has always to soar over the orchestra effortlessly. You need a lot of physical stamina and concentration to sing this dramatic repertoire.

Last week a soprano studied with me the role of Lady Macbeth Verdi. Having sung this role myself in many performances I know how demanding this role is in any aspect. The singer has to sing coloratura, whispering sounds etc.

When Lady Macbeth enters the stage with „Vieni affretta” and the Cabaletta, you as the singer have to establish your character.

Like in all dramatic repertoire, to be able to sing all the notes is just the beginning of the journey into the wonderful working process of making a role yours. Out of my career and experience with this heavy repertoire, I would, at least, suggest to plan at least 6 month for learning a dramatic role.

How to cope with a last minute offer?

I know that singers sometimes get the offer last minute. This is a difficult situation.

My suggestion:

See your voice teacher and a coach you trust and ask if you could manage to learn this part in a couple of weeks. A better choice for all the weeks you are not in a contract, instead of getting frustrated sit down and learn Opera roles of your vocal fach.

Enjoy the music

Your long term goal with every dramatic part should be that you sing it near-perfectly and know the music like your heartbeat. Reason: Then you have no fear concerning wether you can come through the performance.

Another long term goal is to develop a strong personality on stage. Then you are expressive and and and….

I always emphasize that it is essential to have enough experience before tackling those big dramatic roles and to have a voice teacher and music coach working with you who you are nurture from.

With appreciation

Vera Wenkert

Opening night for my new website

Dear beautiful singers,

I know exactly how alone you sometimes feel when you have a special voice and the desire to have that voice trained into an opera or concert voice, and how desperate you are to find teachers or a place where you can be seen and heard. A place where you can technically develop your voice and also work on repertoire and roles with professionals who have brought them to the opera stage themselves. In recent months I have been brainstorming with my team of pianists from the Zurich Opera House.

The master classes and workshops at the International Institute Stimmkunst have been tailored even more specifically to your needs and stage of development, so that everyone, from beginners to professional singers, can develop their own potential with our know-how and help.

I am pleased to announce that you can now access this information on my NEW website: www.stimmkunst.ch. Here you can also subscribe to my FREE Weekly Nuggets, where you can get an insight into the world of opera from my 30 years of stage experience and teaching. You also find it on the stimmkunst-page on Facebook.

Cordially, in bocca al lupo!

Vera Wenkert

The Joy of Singing

Dear beautiful singers,
Often singers are interested in voice lessons and they ask me if they can listen to a vocal lesson of a singing student of mine. Principally out of different reasons I do not offer this. To me, a voice lesson is very personal and intensive work. I am setting a high value on mindfulness in my Institute and this setting I want to protect. However I would love to help you and to give you the opportunity to meet me and to sing with me in a sort open “Singing class”. There you will have the opportunity to work with me for 15 min on an aria or art song in a comfortable atmosphere. Then, we can discuss together about what is the best decision for your singing future.

There will be a pianist to accompany you. Please bring two copies of your score with you one for me and one for the pianist. Please write an email on my website to register.

I am looking forward to meeting you!
Vera

Special Announcement!
“Singing class“
7th May 2019 4pm to 6pm
Location: Institute Stimmkunst in Atelier für Kunst und Philosophie
Albisriederstr 164, CH-8003 Zürich
Active participants are possible 8, no passive participation
Price : 35 CHF

Feedback

As a singer we need feedback, but it is difficult to get an objective feedback and to put it in the right context for ourselves.

?Tip number one is:
Try to get constructive criticism from people who understand the issues and the profession.
For example, your voice teacher has to correct your vocal technique and your pianist has to correct musical nuances. (Please note that a Theater Director or a conductor might not offer you substantial feedback after an audition. His time is limited and his job is just to find a singer for this specific role.)

There are always colleagues who have the tendency to give feedback so…
?Tip number two is:
Take an inner step back and ask yourself: “What is the underlying motivation why this colleague is commenting on my performance?” A healthy on the spot reaction is to say thank you and a short sentence like “I will think about it“. Please try not to explain yourself. A colleague is a colleague!

It takes time, thought and concentration to give a thoughtful and neutral Feedback. When I was in the first year of my opera career I was young and insecure, and I received contradicting feedback. It took me a while until I understood that they are just opinions, often from people who are in the same boat or have no career, or what I call “pretending to be more then they are.” I remember my first production as a very young Tosca and my Scarpia was the famous Franz Grundheber. I was on one hand so overwhelmed singing an opening night of Tosca with this great singer, and on the other hand I understood very quickly that he was a nobleman only concentrating on his art and singing. Instead of giving his opinion he was in peace and concentration with himself, and I felt then that I have the time, the space and the atmosphere to grow into my interpretation of Tosca. It was a very special opening night for me and one of these rare performances where you feel the God of the Singing Heaven has just put a magic glow on you ?
My advice is : Do not give unsolicited criticism and do not listen to unsolicited criticism. You never know in which state of development the singer is or what tasks he or she is facing in the career.

Hopefully you have trustworthy sources in your life, like a mentor, your voice teacher, your number one coach, people who have helped to guide you through the varied up and downs of your singing education and career. You have a bond of trust and honesty created between you and these handful of people, and this is unpayable in the life of a Singer. Until today I am thankful and blessed that I have my mentors David L. Jones, Friedrich Gürtler and Thomas Barthel in my life, with whom I have trustworthy and honest relationships with for decades, and where I get substantial advice. As well, of course, all the wonderful female singers which have influenced my way, like KS Birgit Nilsson, KS Berit Lindholm and Janet Williams. These are only a few to mention here.

In this special Weekly Nugget I also want to give a THANK YOU towards all the brilliant young singers, and also the singers who are already in careers in my studio, for their dedication towards the art. As well as for their substantial honesty in the working process with me and the people around them in this profession. I am grateful for your heartfelt testimonials that are featured on my website now.

With appreciation
Vera Wenkert

Photo: Vera Wenkert as Tosca and Franz Grundheber as Scarpia

Voice Disorders

Sometimes a singer enters my studio showing signs associated with voice disorders. As a singer we are depending on a perfect voice function. I want to give you some advice to avoid unnecessary vocal problems.

There are phonatory disorders like swelling of the laryngeal tissues etc. and disorders which appear because of inappropriate use of your voice. When you use your voice in an unhealthy way, it can lead to laryngeal problems.
Sometimes a singer suffers from Acute Laryngitis after a cold. As a result, the singer feels major stress, because our life depends so much on our voice. My advice is find an excellent ENT and rest your voice until the reddening and swelling of the vocal chords is gone. I tell my vocal students go on “Silent Diva Days“. Afterwards slowly begin to get your voice back in shape.

There are of course many reasons for a voice disorder, but this has to be discussed in a different context. The voice disorder can sometimes come from too much pushing of the vocal chords during singing, and this is also result of poor vocal technique or singing in the wrong Vocal Fach. The voice sounds pressed then and has often a hissing sound. Sometimes there is an incomplete glottal closure in the Arytenoid region. Also here you will find many more reasons and roots for voice disorders.

So what to do?

First aid is to rest your voice, then find a good and responsible voice teacher who helps you with specific exercises to get back on track.
My second advice is: Do not sing heavy repertoire when your voice is not in good shape. Listen to yourself and do not let yourself become persuaded to sing “just this one time.” You will be in danger if you do so.

AFFIRMATION: I use my voice wisely and economically with a healthy vocal technique.

To your greatness,
Vera Wenkert

How to take care of your voice in a coaching session

It might be a demanding task for young singers to get through a coaching session with a pianist whilst keeping the voice unstrained.
Number One definitely is to keep in mind that it is your responsibility to take care of your voice.

I know from my own experience as a freshman in the opera and theater business how intimidating it can be when one is confronted with professional opera pianists. As a matter of fact, coaches are so delighted to help us singers on our way to conquer the role or just to learn an aria! Most pianists in Opera Houses know a lot about the music and what would be the most wonderful sound of this particular word or phrase etc. They are full of ideas and advice regarding the musical phrasing, tempo etc, and it is more or less easy for the singer to take the advice and perform with it.

Often coaches want to help to correct an unpolished sound or other sound issues. Most of the time this is problematic because they are not voice teachers. They have good ears and intentions, but when they give sound or vocal corrections (I want to emphasize here) it is essential that you as a singer translate it in the vocal technique you have and then try to correct it in the session. If you feel that you unfortunately cannot solve it in this coaching session, be so kind to yourself and stand up for yourself. Also in this way you can respect the time of the pianist and tell him or her that you want to take the time to solve it by yourself or with your voice teacher. Especially young dramatic voices have to take good care of themselves. (Of course there are also coaches who have the knowledge of the voice to work on it a little, but they are not easy to find.)

Again there is nobody else responsible for your voice then the singer himself.

Sometimes it is not easy to stand up for oneself, to take this huge responsibility and to maybe confess things like:
“This does not feel right for me or makes my voice tired.”
“This coaching is too much for me on top of my rehearsal schedules and performance schedules which are very tight at the moment.”

?If you do not feel well, mark in a coaching session, speak the lines in rhythm etc ?

AFFIRMATION: I take responsibility for my voice in every coaching session, in every rehearsal and in every performance.

Good luck! Rise and Shine!

Vera Wenkert

Cool down after a Performance

Out of my long stage experience I want to encourage you young singers to install the habit of cooling down the voice after a performance. Like in the sports world, singers also use muscles to sing. In my opinion it is not only important to exercise the voice everyday but also to cool it down after a long performance or recital.

You can use the “u“ vowel to do so only in the middle register of your voice. For example you start with quinte third tonica or you go down a five tone scale. When you sing it softly abd with your support, the vocal chords return to freedom. It just takes 5-10 minutes to do so, but the benefit is a healthy relaxation of the voice. Remember treat your voice like your best friend and acknowledge and take care of its needs.

There is another benefit of this procedure: You will build up a sensitive relationship with your voice, knowing if you have sung in the right way through your performance.
The voice will show you afterwards, if it is too tired, you definitely pushed too much, gave too much volume etc. There can be several reasons for this, but now you know you have to find out. Knowing how to keep your voice healthy and fresh is crucially important for a singers life and career.

With appreciation
Vera Wenkert

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

How to find the right voice teacher for you

The right voice teacher is a person who can build up not only a healthy vocal technique with you, but empowers you to fully express your vocal gifts. So, how do find out if this particular teacher is the right one for you?
In my opinion it makes no sense just to book an expensive audition lesson with a possible future voice teacher because the teacher must see you in the working process first, and you yourself must get a good sense of how the teacher’s approach towards your voice is. This is the reason why I always schedule an hour of real work with a possible singer. Sometimes professionals come to me and they want to do a Fachwechsel (voice change) and in this case it is essential that the singer takes his or her time to work with the teacher and trust in the process with the teacher. Again, there is no magic pill in the singing universe.

In my long stage career and out of my extensive teaching experience I can say that if you are a different vocal Fach than what you previously thought, then your current teacher with good ears and knowledge will hear it and guide you through the process.You might be super lucky if the teacher also is a wonderful musician, a healthy personality and a generous character. I have had wonderful teachers and mentors like Friedrich Gürtler and David L. Jones, and until today I know if I need any advice I can contact them. I feel so grateful for these Mentors ?

How do you recognize a healthy character in the teaching community?
– Teacher nurtures your unique talent
– They give you explanations and healthy vocal exercises for your voice
– Empowers you to become independent
– Is honest with you and can give you heartfelt compliments for the progress you achieve
– Is not moody/arrogant
– A healthy teacher nurtures you and does not feel the need to make himself big and important on the back of the student
– Has good ears and knows the music repertoire
– Treats the student with respect and attentiveness

These are only a few aspects but there are of course many more.

AFFIRMATION: In my life I find the right voice teacher who is attentive, kind and appreciates me. I enter a field of Life responding to me.

Best Wishes,
Vera Wenkert

Dear beautiful singers

In my career on stage and in concerts I have sung many Wagnerian roles: Elsa, Elisabeth, Venus, Senta, Sieglinde, Brünnhilde, Isolde. Out of these experiences and from the experience I have with my teaching practice in teaching dramatic voices, my number one advice is:

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

Step Into Your Unique Talent

As singers we have to overcome the barriers which block us from our successes. In my Masterclass and Audition Workshops I always recognise that the singer standing before me is yearning for something that can only be created through his or her voice and presentation. As a Singer we not only want to express ourselves but we also have a longing that our artistic gifts will impact others.
A powerful approach to waking up as an artist is to have excellent Vocal technique and music skills. Then together we can work on your authenticity, confidence and your gift of the interpretation of the arias. We do this together in a way that is well received and valued.
In this quick music world it is important to strengthen your inner self and your talents at the same time. Set yourself the goal to be a wonderful shining singer and artist and take this into auditions and performances.

I am passionate about my work to take you step by step through the growing process to become a Radiant Singer.

Have a gorgeous day!
Vera Wenkert

Bright sunshine…

Bright sunshine and I am in a wonderful vacation. You are very welcome to have a glimpse for the next Weekly Nugget by August 1st 2018 .
Take care .
With appreciation
Vera

Summervacation Practice Routine

Congratulations, as I said in my last weekly nugget celebrate the huge accomplishment. You have sung a whole semester or an entire season at an operahouse. Now first of all give yourself and your beautiful voice a rewarded rest and holiday. In my experience as an operasinger I always took eight to ten days of easy time for me and my voice. This means about 5 days no singing at all and then I started slowly to prepare for the next season. A great way to stay groundet in your holidays is at least do your 30 min vocal wellness vocalisation. Singers who in preparation process for autumn competitions I suggest use your summertime wisely. Hopefully your voice teacher is staying with you on track. Challenge yourself but also have fun.
With appreciation
Vera Wenkert

The Right Voice Teacher for me

Often young Singers come in my studio after years of studies. Some are super prepared for the exciting and demanding profession of an operasinger others need still a lot of work.
These experiences and my knowledge of the profession ( I have sung over 30 dramatic roles on different operastages, festivals and concerthalls) inspiries me to write my advice today:
Young singer or singing students you have to find ” your ” voice teacher!
What does this mean in reality:
This teacher must have the ability to pass to you a healthy vocal technique in a way that.you understand it and that you feel, you are making vocal progress.
This also means you should not feel hoarse after lessons!
Your voice teacher should have real interest in your development and most important he or she should have enough time to teach you.
In my opinion it makes no sense to study with a famous singer, who is still in a career, because he or she will not have enough time for teaching and nurturing your freshman career.
I am a strong believer in the fact that you when it comes to day x – YEAH- you have to know how to sing with your voice and to know how to make music and to be able to stand on your own feet.
This is the number one priority.
No one cares wether you have learned with a famous singer or at an institute or with a private teacher.
It counts what you can do and how you sing.
My number one advice is find a teacher , with whom you get at least regular vocal lessons and who has the time and spirit to nurture you individual and who offers a
healthy vocal technique.
When it is your desire to start an operacareer it is very helpful, that your teacher has been on stage too. This is not a must but it gives you also input from reality.
There is one big advice I want to tell you closing this precious weekly nugget. Take your responsibility young beautiful singers. This starts with finding the right vocal teacher for you. All of you have a unique voice and a unique path in life and profession and this means only you can feel and decide who is a good voice teacher for you and where you are in best hands for yourself.
With appreciation
Vera

Singer’s Wisdom

Weekly Nugget: Singers’ Wisdom So many voice students and singers have asked me to write a book about Methode StimmKunst©. I am delighted and super proud that now the e-book “Methode StimmKunst© – Advice from Vera Wenkert” is available: Join me on http://WWW.STIMMKUNST.CH/COMMUNITY/ and download the free e-book until May 14th 2018. This book is the precious seed of my future printed book. I have decided to give the e-book as a gift to you, beautiful singer, for 2 reasons: First of all: Support is crucial for success in an artist’s life. So, take it as an enchanted help! Second: My life path and music path have taught me to truly see my value and I like to put value into the world and to help artists to blossom and to find their way to grow. I cordially invite you to join the StimmKunst community.
With all my love?for the art Vera

Rehabilitation of the Voice

Hello dear beautiful Singers,
sometimes a Singer enters my Studio and is in vocal difficulties.
I understand that it is a scary situation for the Singer.
My approach is to find out what the cause of this condition is.
There can be severe: Overuse of the voice!
For example, too much singing, not using a healthy vocal technique, singing in a wrong vocal fach, singing on an infection…
It can be the result of hormone change, e.g. Menopause
It can be psychological causes.
Very seldom the root is a serious physiological cause.
Then I work together with a very good team of laryngologists and a clinic.
But the number one in this state of a singers voice and mind is:
KEEP CALM
BE OPEN MINDED TO THE CAMINO OF REHABILITATION
There will be no magic pill. When you allow yourself to take the patience and caring for yourself with an excellent voice teacher and the team it might need, in most cases you will recover. CORRAGIO!
Take care and trust also in this time your inner voice.
With appreciaton
Yours
Vera

Voice Teacher

As a singer it is crucial that you find an excellent teacher. No matter, wether you are a vocal student or a professional singer, you need a voice teacher who offers you solid technical results. The teacher should also be passionate about teaching and you should feel that you can trust him or her. It is hrh obligation of a voice teacher to guide you as an individual singer with your own vocal needs.
You are part of the process and if you have found a teacher who has a very good ear and offers solid technical results for your vocal need, trust and work day by day and you will make progress.

With appreciation
Vera

Daily Voice Cart Part 3: Preparing an Operapart

I work with high level performing artists , with whom I make an extramindful preparation plan.
This means, we work the part mindful and when the time allows gently in the voice. For example pushing your voice in dramatic sound to fullfill the requests of dramatic sound is a completly wrong path and the risk is there of falling into bad habits of tension and other compensations that will be difficult to unlearn. In my opinion and according to my results in my own professional life and in the performance life of my artists it is a healthier way first to show the singer the special kind of self-awareness, so that he or she feels that every operasound has to be sung without strain in the voice. The singer needs patience to go through this process then he or she will get the way of steady progress. Once the singer has digest the healthy route to sing it is easy to put the dramatic into the piece. I remember when I sang Butterfly I started 3 months before the rehearsal time at the opera house started to sing it into my voice and to learn everything around the character etc. Then, when stagerehearsals start, I felt so easy in the part that I could fully concentrate on the character and staging.
Your body sensations and your mind and your emotions work together and all three are wired into voice. To understand this and to stay attentive to the process of feeling the voice is effortless singing is the important thing for keeping your voice healthy.
In my everyday teaching I see that it takes the crystal clear intention of the singer to trust in this profound work process. Singers who get involved in my special well-foundet way of working, which I have created, experience fullfilment and success in their performamces.
The magic pill you cannot find in a quick way , the magic pill lies in trust that your day by day self work will bring the result and hopefully with the help of a trustful voice teacher you will learn in a profound training or retraining to understand your individual vocal production.
Merry Christmas and a blessed time for you and your loved ones . Toi toi toi for all my wonderful singers, who have concerts and performances coming up the next 2 weeks. Next weekly Nugget comes 2018.
You are also welcome to find out more about Methode Stimmkunst 2018
With appreciation and warmest wishes
Vera

Daily Voice Care

As a Singer you have to take conscious care of your voice.
Normally, the voice serves us automatically and we do not even think about this beautiful habit of speaking or singing, but if we have chosen to work with our voice professionally, we have to develop consciousness in dealing with this very special and personal instrument to keep it healthy.
In a series of weekly nuggets you will find some good suggestions.
You are invited heartly to join me the next couple of weeks to find out more about DAILY VOICE CARE.
First, the vocal cords work better if they are hydrated. Especially, in winter time in heated rooms they need moisture and therefore you have to drink a lot. Of course, not a lot of alcohol because this dries the vocal cords and the voice gets tired easily.

With appreciation
Vera

Stagecraft Masterclass

Good morning singers!

I am giving a Stagecraft Masterclass this weekend, and I would love to give some input into how to make a role yours. Of course, you have to know the music and you have to be able to sing it beautifully with your unique voice,
but this is not enough for giving the role birth on stage in rehearsals, and later in performances. So let us dive deeper in the process…

…You have to know all details about your character as if it was a real person. Find out the age of the character, the surrounding and social status it lives in, the relationships to the other characters in the opera, the state of mind, which scenery, when you sing the aria or duet etc.
You become an interesting working partner for the stage director when you have done this thoughtful work before you meet him/her. They will give to you their ideas and then you can work with these on a serious empowered basis. (These are only the basic things to take into consideration . There are many other things to conquer)
I remember when I was preparing my debut Lady Macbeth (Verdi), I was so thrilled by the idea to not just portray her as cold and power greedy, that I translated every word and searched for the deeper meaning therefore finding a more versatile character who I could give life to on stage.

Wishing you joy with your unique approach!
With appreciation,
Vera

Caught a cold!

A singer with cold symptoms is very very unhappy …
Especially before an upcoming performance.
Here are emergency tips. Yeah!
If you feel you get a cold take lots of vitamine C
during the whole day and Zinc. A good thing is also to start with an immunebooster like Echinacea. Gargle with salty water and drink a lot of warm tea or ginger water. If you feel you are really down with an infection ,rest your body and most important rest the voice ! .Do not go to the piano every half hour and check if the voice is still there .. I know this is crucial – just to accept the cold. When I was singinc Sieglinde Walküre , I got a cold but instead of freaking out, because I love this role soooo much , I told myself meditate , send positive vibes to your body Vera and take immunebooster. Guess what in 4 days the worst was over and I could sing the Walküre performance.
The secret to get better quickly is to relax and trust nature and the body that it is already on the way to healing.
I urge you not to force the voice to sing pitches, which it does not want to do at the moment.You can damage the voice by doing this. The less you use your voice the quicker it recovers and the tissues around it. It is better to cancel a performance then to sing on a throatinfection. You only have one voice and it is serving you every day ; so treat yourself and your voice with respect and appreciation ; the same as you would treat a.good friend, when he or she is ill. And as you know in a week the cold is mostly over. Good news. Have a wonderful day Vera

Great Auditions

This time of the year is audition time. Yeah, superb! You made it until here. So let’s see, if everything you need is on the peak:

Number one: Your beautiful voice is a free voice with the help of a good vocal technique. The effortless flow of sound, vocal freedom is a satisfying experience for any audition panel.

Number two: Perform with unfettered musicality.

Number three: Is your confidence and self esteem so solid, that you feel secure in yourself in any aspect and that you communicate the joy of being a singer and performer to the panel?

Number four: Your Italian diction sounds Italian and your German diction sounds German… You have translated the text by yourself and not only with a given translater….
Feel inspired by this 1st part of the checking list of ” Sing and Shine”.
You are in a working progress and go for it. Next week here on my Stimmkunst page you will find part two on GREAT AUDITIONS. For masterclasses, voice lessons, career coaching and auditions workshops have a glimpse on my website stimmkunst.ch.

With appreciation
Warmest
Vera

Bright sun outside – let your voice shine

Bright sun outside and I feel this is the perfect time to let our voice and singing personality shine. You find information about the upcoming Masterclasses and Workshops on my new website www.stimmkunst.ch
Sing and Shine

Wishing you a wonderful day
Vera