Today I acquired a new voice student who is 16, but his voice never changed. He speaks and sings in a high falsetto. I know he probably needs a speech therapist to really help with this, but does anyone have any suggestions?

Hi!!! I’m (24F) looking to apply for a competition that wants aria, art song, and oratorio in its rep list.

They ask for four selections, one in English, French, Italian, and German— I’m thinking of doing non piu mesta for my Italian selection.

Anyways y’all got oratorio ideas for a lyric mezzo that are in English, French, or German?? Preferably some that’s not in too low of a tesitura?

Thanks:)!!!

I’ll preface this by saying that my college music education was a major mess and I ended up finishing with a weird custom degree for numerous reasons (take care of your self people). However, I was a vocal performance major at two different schools- one known for its music program. My health has improved drastically over the past year and I wanted to get back into opera in any capacity that I could. I honestly felt stupid or like I would be out of place when I first looked into what non-college opportunities existed around me. However, I participated in a community concert opera over the summer and I can honestly say it changed my life. Despite being a community group with a volunteer, no auditioned choir, there were tons of people to learn from. Suddenly I went from thinking that part of my life was over to performing with people with resumes I dream of having. I made good connections too and found more opportunities through them including a new singing coach and job openings. I am currently singing in a choral and orchestral concert with the same group and had the most amazing experience last night. We were asked to come to orchestra rehearsal since we were not able to book an official sitz probe, however, I was the only Soprano who showed up. It was akin to being a soloist with a full orchestra, something that was never planned as part of my undergrad music education. It was hard, especially given important instruments were missing and I learned some of the pieces just a few hours earlier, but I learned a lot and surprised myself. The education and opportunities I have gotten by joining a community group on a whim are so much better than what I got in my formal education. Honestly, if I had joined earlier I would have made better school decisions or recognized the issues with my education sooner. This is all to say, be aware of what’s around you and utilize those resources. You never know who you’ll end up singing next to.

Greetings! I am realy struggling developing timbral ear. My teacher have a really good vocal timbral ear. While we were working together I`ve record and under his guidance named a lot of audio-files (songs, acapella, with backing track or piano, all sorts of warm ups). So basically I have a lot of audio files with labeled as "good-throat is opened", "bad-throat is closed, timbre is worse" and etc...

I can hear difference pretty clearly when I compare them, but I can`t be sure when I need to tell it "right off the bat". I`ve had some days where I could tell it right away and in those days I was singing as good as ever!

So, my question: How should I create my aural workout with those recordings in order to develope this vocal timbral ear? Should I listen to them every day for 40 minutes or something or maybe having some vivid images when hearing it or just compare them every day?

Does somebody thought about this sort of thing?

Please help me I am really frustrated by this question!

I go to a Baptist church. I'm trying to find a song to sing (solo) for the Christmas Eve service. Not Christmas carols cuz that's boring. Something maybe in the style of pop, but still has a good meaning

Any suggestions?

Hello!!! I’m a 2nd year in college! I’m a contralto and I’ve been trying to find repertoire that focus more on chest voice as my other repertoire is more head voice centered! I’ve prepared Der doppelgänger- Schubert but with finding other songs it’s difficult to find!

At the beginning of this semester I found out that I am likely a soprano instead of a mezzo (I am still going through the stages of grief). So I’m singing higher. (for reference I am 20 and have been singing seriously for maybe 2-3 ish years)

My voice teacher says I’m not singing free enough. When I try, it’s like the vibrato isn’t vibrato anymore. It’s a very wide, inconsistent and jarring sound. This was not an issue before, but now it is.

When I brought this up to my teacher, he said it was a breath support issue, but now I’m not so sure, as it still persists when I am focused and taking good breaths.

I decided to stop singing for now, but I do have a jury in about a week. I’m hoping that giving my voice a rest will resolve the issue.

Hi! I'm a 17yr old female and a few months ago I started lessons because I had loved opera singing my whole life, as I was obsessed with the Phantom of the Opera ever since I was like 4 years old.

Thing is I had been singing in pop/musical theatre style my whole life and I've been attending lessons for a few years and some people told me that it's not possible do both. Can anyone tell me if this is true please?

Im a undergrad sophomore training as a baritone. I have a very large and resonant falsetto with a pretty nice range in falsetto. Is it possible to perform as both? Every book says it can be problematic but none say why. Is it a social thing? A musculature thing?

I'm slowly working my way back to opera (maybe. This experience has sucked.) Someone I know has a small professional opera company, and they offered to let me cover a double cast main role so I can try to get back into this. A kind gesture, but I did not understand that covering meant I would be essentially on my own for music and blocking. I worked on my music before rehearsals started, but in context, things are a little tricky, so I was hoping to get to work through things. I have gotten to sing through parts of my role once. The rest of the time, I'm just sitting there watching. I also dont get to go through the blocking on stage. I thought I read somewhere that companies usually spend 1/3 of rehearsal time for the covers. That's definitely not happening here.

Can someone help me better understand what my expectations as a cover should be?

And do you have any tips on learning a role (and newly assigned chorus bit) when you have a day job, a dog, a second ensemble youre in and didnt know would have overlap, and every other free moment is spent in a rehearsal you can't really participate in? I get home after 11 on week nights, and weekend rehearsals are generally 8-10 hours, and I have ~1hr commute each way on top of that. Not to mention doing human things like cooking, walking my dog, dishes, laundry.... like I said, I shouldn't have taken the role.

Hey! I'm a junior in high school and I'm trying to build my repertoire list for college auditions. Does anyone have any suggestions? My vocal range is E3-G5.

Hi! As a classical soprano and self proclaimed nerd (or whatever you'd call it) I've recently been looking for vocal pieces from video games to add to my repetoire. Initially I wanted to add a piece from Final Fantasy XI, but it's been absolutely impossible to find sheet music for it and I'm not sure I have the skill to transcribe it myself yet. Would I be so lucky that anyone out there has some suggestions for other pieces I could use?

I know this is slightly different than what’s usually posted on this subreddit but I just want to hear from other performing singers: what are your favorite shoe brands or styles to perform in? I feel like I haven’t quite found my shoe yet.

I have visited many teachers, and no one can tell me whether I am a baritone or a tenor. Some say I'm a baritone, some say I'm a tenor.

My spoken voice is tenor with a high voice, but my top note limit with my voice is around F4, but in falsetto I can sing up to F5.

Can someone help me determine my voice type according to the fach system?

There are 2 recordings here: in the first I show my tessitura from low in the first verse to high in the third verse, in the second recording I just sing in my high voice.

https://voca.ro/1oAJITIcScBb

https://voca.ro/1bZgaNV2Ih3u

Just listeners even! Do I sound like a baritone or a tenor to you?

Hiiii, can you suggest me some baritone + huge soprano/mezzo duets? There's a friend asking me to sing with him and kind of forced me to learn "Bei Männern welche Liebe fühlen" (from Die Zauberflöte) but he finally understood Pamina is too high for me lol.

Thanks in advance for your time and help!

I'm a young nonbinary soprano in a progressive U.S. city. I'm starting to get more serious gigs and I'm wondering if asking people to use gender neutral terms/pronouns for me could harm my reputation. Up until now my musical network was mostly very queer and I wasn't as worried about it, but as I branch out I just worry that openly identifying as nonbinary could lose me some opportunities/cause people to take me less seriously. Would appreciate thoughts from anyone who might have experience with this, especially other nonbinary singers or people who have worked with or hired nonbinary singers.

My lowest note is F3 i think and my highest is D6 currently. I've been told im a soprano or lyric soprano but also have been told im a mezzo. Any ideas?

Exercises, links to videos, articles, whatever will be much appreciated :)

Hi guys. Classical violinist here who recently started singing. Can someone please explain to me how the voice works?

I’m a soprano with a good range. My comfortable range is pretty textbook from C4 to A5. I can go above and below but it’s not as clear and supported.

My real question is that for some reason I struggle with E5 when approaching it from below? Above it I can sing fine and it’s sounds okay when approaching it downwards although still weak. But E5 is always weak when I try and sing it after singing lower first. I had to change the song I’m doing for my recital because I was struggling (Voi che sapete). The other song I picked (L’ho perduta) is higher and much easier for me. Why is that?

Can anyone explain why this is?

I remember seeing a website that organizes art songs by emotions in order to create a story. I believe it had vortex in the name? Any help would be appreciated.

What sacred songs about gratitude can you think of? They can be arias, songs, or hymns - including melodies from any oratorios.

I believe that all vibrato is consciously added to tone by classical singers. I don't buy the "if your breath support is correct, vibrato will naturally happen" narrative. I think singers are all afraid to admit that they do this, for fear of being outed as "doing it wrong."

EDIT: The ghost of my college voice teacher just showed up to insist "but Bernoulli!!!!"

Go to town on me, friends. Can't wait to see the replies and downvotes :D

Hey, everyone. I'm a 19 year old soprano in my sophomore year at college and I really want to do a training program this summer. I really, REALLY wanted to do AIMS in Graz, Austria, but my university says that since it's unaccredited, they won't give me any scholarships to go. I'm still going to audition in case the program gives me financial aid but I'm not banking on it. As such, I need some other options and Google is kind of useless. YapTracker is helpful but it doesn't tell me if it's accredited. I would prefer something in Europe like AIMS or IPAI but I'm open to staying Stateside. Do y'all have any suggestions or experience with determining accreditation? Please let me know. Thanks.

I'm considering playing this for a recital. I'm a horn player and the "strings" would be piano.

My question: Any recommendations on hiring a tenor? I have no idea how difficult this piece would be for the vocalist. It's pretty tough for the horn and piano.

I'm not even sure where to start looking as my hunch is this graduate level MM (and no universities around me offer those) to pro. Besides sources, is there any way to vet someone? I would tend to just having them sing some of the work.

So I’ve been assigned this song cycle for this semester, and I’m currently reading up on the text. I’m confused becaused the text on the piece is different from the text of the poem itself.

I vaguely remember my teacher saying that the song cycle was inspired by Shakespeare’s Romeo and Juliet, so maybe that’s why Debussy altered parts that mentioned “Phoebe”. Although I can’t find anything online that backs that up.

Any insight is appreciated, thanks!

Hello! I am a young, undergraduate singer who is making a performer's resume for the first time. My teacher told me that I should put everything in chronological order no matter what, but my most recent competitions (although they were a bit harder,) have worse finishing spots than my competitions from a year or two ago (which were first place.) I understand wanting to lead with honesty, and would never want to present anything in a deceitful way, but I also want to lead with my best foot forward. Just wanted to ask the community and find some more thoughts. Thanks!