(18.06.2021)
The opera and concert singer Sven Fürst started learning singing at the age of 20. He teaches at the Hochschule für Musik Würzburg ...
For music in general and singing in particular, I don't think there is a perfect age to start. Professional singers often start singing relatively late compared to instrumentalists. Generally speaking, singing lessons and/or singing in a choir can be started as soon as a child/young person feels the need to be 'artistically' active in this direction.
Every future musician has to learn to read music at some point, so I would put it right at the beginning and, again in a playful way, start with learn to read music at the same time as singing.
When singing as a 'melody instrument', the piano is always recommended as a second instrument for harmony, because you learn to understand the pieces better musically, and as a singer - with the help of the piano - you can work out your pieces independently - and accompany them if necessary.
Looking at the great visual variety of singers shows that anything is possible. A deep chest (after growth), a flexible jaw, etc. are certainly advantageous. However, since singers cannot buy their instruments off the shelf, but have to 'build' them as they grow and practise, many things can be trained that are not yet present (breathing muscles, more direct access to the speech muscles, etc.).
Give it a go! After a while you will find out if it was the right thing to do, or if your interests have suddenly shifted, whether to the instrument or to other areas. There is no guarantee of success, but you can never take away what you have learned.
The biggest advantage of singing is that it doesn't cost anything (apart from the lessons) and you always have your instrument with you (which can be a disadvantage in the snow and drizzle if you don't have a hat and scarf...).
Singing costs lessons, of course, but they don't have to be expensive to be good! You will also need to buy the music you want - or put it on your wish list.
As a singer, you always have your instrument with you. This is both a blessing and a curse. Over time, every singer has to get to know his or her body and know how the voice reacts to certain stimuli - be it cold, smoking, sick family members, too much partying, not enough sleep, and so on.
The best thing to do, of course, is not to strain the little cords in your throat too much too often and to practise a little vocal hygiene: drink plenty of healthy fluids, get enough sleep, talk less...
Unfortunately, we can't call in the piano tuner or just say we've got a broken string when the 'vocal carnival' – as one of our colleagues so delightfully put it – is on...
In us, with us... So there should be no need for bulky luggage on the plane.
When it comes to singing, self-instruction (with the exception of a few stories about gifted autodidacts) is not really sensible and advisable, because physiologically/anatomically correct singing should always be accompanied and corrected by proven experts, especially in the beginning, so that things don't go in the completely wrong direction, especially for the young untrained singer. As a singer, you cannot buy a new instrument if the 'old' one is ruined.
This should also be done in consultation with the teacher in the beginning, so that you do not over- or underchallenge yourself too early. New pieces can and should contain difficulties that the previous ones did not, so that you can progress, but step by step.
Unfortunately, it is always the neighbourhood that judges...
There are many different singing techniques, depending on the genre in which one wishes to compete. The most obvious difference is that between so-called 'classical' singing, i.e. the style of singing that predominates in opera, concert and song (with exceptions), and musical/pop singing. The different timbres are created by a different leading of the voice and an overemphasis of individual registers, i.e. vocal ranges, in favour of others, which is due to the respective sound ideals of the different genres.
But even in the field of 'classical singing' there are differences in technique when it comes to vocal literature, be it early music or contemporary literature, which place completely new demands on the human voice.
When you sing, if you put your heart and soul into it and don't want to achieve the unattainable too quickly, you can actually see success relatively quickly.
There are wonderful collections of songs that lend themselves to the first audition: Arie Antiche in appropriate keys, early Mozart, early German-language art songs, lighter Disney- or Musical Songs…
The classics in singing are, of course, always Mozart, Schubert, Bach, where one can find an infinite number of suitable, feasible and touching pieces, but one is also shown one's limits from time to time, which gives new incentive to overcome them. I don't really have a favourite piece; if I had to choose music for a desert island, it would certainly be the bass arias from Bach's Matthew Passion, Mozart's Don Giovanni and songs by Richard Strauss... or Schubert's Schöne Müllerin... or or or ....
A wonderful audio example to see where the journey can go is certainly Der Hölle Rache kocht in meinem Herzen, the aria of the Queen of the Night from The Magic Flute by W.A. Mozart.To experience what the human voice is capable of in terms of expression and art makes one very grateful, happy and humble!
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Show YouTube contentSinging is universal, solo, duet, in a small ensemble, in a choir, with instruments and instruments...
Using human language to convey emotions - what instrument can do that?
There are so many clichés that they could fill books: Sopranos are moody and difficult, altos are well-balanced and usually two metres tall, tenors are unpunctual, egocentric and stupid, basses are slow, and so on and so forth. As a rule, however, most singers today are the exact opposite of their stereotypes - with the exception of the giant contralto.
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switch to Stretta Music Worldwidestay on Stretta Music FinlandI started singing relatively late, in my early 20s. At first I played the flute, from the 5th grade onwards, and played in various orchestras and in the Bundeswehr music corps. Originally I wanted to study this instrument, but gradually it became clear that I would have to continue my musical life as a singer.
Funnily enough, it was the Queen of the Night's aria that got me into singing. My dearest and oldest school friend received The Magic Flute as a birthday present from her very music-loving aunt. We listened to it non-stop for days, the Queen's aria 20 times in a row, of course, until her parents told us to stop and took the record away. Shortly afterwards I bought Salome by Richard Strauss, now to the chagrin of my own parents, and that was the final spark: I made singing my profession.
In addition to the many wonderful oratorio projects in which I am often involved in Würzburg, it is always the special opera performances that make my work so interesting and varied. For example, I have sung opera in various productions at the Pasinger Fabrik in Munich, at the Junge Oper in Cologne (while still a student), at the summer operas of the Welsh National Opera or at a world premiere at the St. Gallen Opera House. And this is just a small selection...
The special thing about opera work, as opposed to concert singing, is that you work with many colleagues, the director and the whole team for a long time. Then, after the premiere, when no director is watching, to see how the pieces and you develop is an extremely enriching experience.