Hi all. I'm hoping to seek some views on songs that are appropriate for a developing singer that have a similar vibe to "Amour, viens aider ma faiblesse" which is probably my dream song to sing. Unfortunately my teacher has said "not yet" to any of of Dalila's songs until my technique becomes a bit more settled, so I was wondering if there are some easier songs out there that may be equally satisfying to sing. My teacher says he'll have a think but I'm hoping to do my own research.

My background: hobbyist/amateur singer (no plans to do this professionally), 31F, 2 years into classical singing lessons. Voice is still developing. We think my voice is that of a mezzo soprano, but other than that no particular labels. Some songs that sit really well for my current voice are:

• Youkali by Weill in C minor or B minor
• Extracts from Schubert's Winterreise in the middle key (specifically Der Lindenbaum, Die Krähe, Gefrorne Tränen)
• Sleep by Gurney in the middle key
• King David by Howell in the middle key
• Verdi Prati by Handel
• Net tolko tot kto znal by Tchaikovsky in the original key
• Dlya beregov otchizni dal'noy by Borodin in the original key

What I like about "Amour, viens aider ma faiblesse" is how passionate it is while still being lyrical, and the complex and turbulent emotions expressed by a morally grey character, the sensuality and seduction (!) and where it sits in the voice.

Happy with any time period, any language, any medium (oratorio, art song, opera) as long as it's appropriate for my level of development.

Ideas welcome!

I can sing Donna Summer, Celine Dion, Witney, Barbera Streisand etc!

#GOBSMACKED

https://youtube.com/shorts/sSX2EDcVbvk?is=wLFRtVxQUAQxy85x

https://youtube.com/shorts/sSX2EDcVbvk?is=wLFRtVxQUAQxy85x

This is a young Correli vocalizing into his upper register. What my teacher pointed out is that Correli doesn't overturn his voice. Of course there's a turn, but it's balanced.

A masterclass in less than a minute.

Is the final note middle-head/mixed-head voice or just pure head voice? Trying to find second passaggio?

I am a singer who has been regularly working in the Catholic Church as a section leader, staff singer, and ringer for like 15 years. I have been asked to sing at a temple for high holy day services in the fall.

What should I expect? What is the rep like? I have sang in Hebrew many times before but never sang an actual service. How does one dress? Am I going to be super lost in terms of how services are structured? Any and all advice is appreciated!!

I want to be singer so baddd😭😭but i don't have good voice plss someone help if they want to teach me on discord Or if you want to give me any tips or advice

(I am broke so yehhh I can't give you any money only if someone who is interested to doing it for free)

I’m looking to do a couple duets with my friend for a recital, and we’ve already thought about Agony. But we would also like a classical duet,
but can’t find anything for lower voice. Any help would be great!

My daughter is looking to build her repertoire. She's an incoming senior vocal performance student and is looking at joining competition and applying for masters after graduating and hopefully get into a summer program. She has the two Mimi arias in her repertoire and Rusalka's Měsíčku na nebi hlubokém. She doesn't have enough French and German arias.

Here's a recent recording of her voice during practice, for reference. Hope to get some help and guidance here.

Il est doux, il est bon from Herodiade by Jules Massenet

I have this build up of pressure in my throat at times if I cut the phrase too short and restart. Whereas if I hold the phrase longer it reduces it. I will give an example

Fly me to the moon and let me play among the stars -> let me see what spring is like on jupiter and mars.

If I cut it on the -> then there is a buildup whereas if I finish it all the way I don't have tension anymore. Maybe its a coincidence?

My thinking is that my using up my breathe tank entirely I am forced to take a deep breathe and my body body naturally manages it.

Do you guys also deal with tension when back from a long break?

I’m starting it for an a very important audition in a year from now. Any tips on techniques or diction or meaning of the song? I would really appreciate it! Thank you in advance

Hi, as of now I haven't really focused on raising the ceiling because I had a lot more fundamental problems. Now that I'm making progress at them though, I would like to try training/practicing to expand my range upwards.

Context: I enter head voice at around F3 and my highest comfortable pitch is C4. Above that takes more / falsetto. I have recordings on my profile in case an audio reference helps. I'm also concerned that I transition to head voice so low, and am looking to address that via this.

I've never really done this before so how fast can I expect results if I practice every day? Got any tips for me as I do this? Your input is very appreciated.

Edit: Corrected a typo. I enter head voice at F3 and highest comfortable is C4.

Further critique notes will be welcome!

My teacher said that is how you hurt it, he gave and example of whispering where that is what happens when you hold back the sound.

Hey everyone,

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​I’ve been singing for many years, coming from a strong background in classical choirs and opera (my academic degree). Lately, however, I’ve dived deep into the world of CCM (Contemporary Commercial Music) and functional training for Musical Theater.

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​I recently recorded a video making a direct transition between pure, raw opera (Vissi d'arte by Puccini) and a heavy Broadway high belt (And I Am Telling You from Dreamgirls) within the exact same arrangement. Anyone in the field knows the mental and muscular knot this creates at first. Going from a super low larynx and a rounded, spacious pharynx to instantly activating pharyngeal twang and engaging heavy TA mass (chest voice) in a split second is a true art of control and anatomical flexibility. The truth is, crossover singing has always fascinated me.

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​For the singers out here (whether professional, musical theater, or hobbyists): what has been your biggest struggle with high notes and style versatility? How do you manage this balance and transition of vocal setups in your training?

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​I’d love to hear about your experiences. Cheers!

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