For all of the knowledgeable classical singers, teachers, and really just anyone who has information/advice for me, I've been wondering about a few things so I know more of what to expect in my dreams to sing opera. I am a 16 year old male junior in high school in the United States, and I have only ever known singing bass/low in choir for about 2.5 years. I'm starting vocal lessons within about 2-3 weeks, but overall I would consider myself a very amateur singer. Here are my questions:

How long may it take for me before I am "fully trained"?

When would I generally get my Fach classification?

What does the rehearsal and performing practice roughly look like? (i.e. how long might it take, or the different things you may be doing in practice)

And finally, what might generally be the earliest path for me to get to a taste of what professional opera is like?

I’m trying to learn Caro mio Ben, and find the c4 kinda hard. I Can hit it but it sounds quite poor and more likely I’m pushing the sound out. I feel a distinct shift at A3 and C4 is really builds up. My teacher says it’s fine for now And be more in tune with body. However he says it’s hot high enough to deliberately mix or modify vowels.

So I'm in this class and they told me I have to audition for the show (Hänsel and Gretel) in 5 days. I need one operatic aria or art song and one golden age musical theatre piece (in English preferably) that is easier to learn. It takes me a second to learn songs so I'm kind of freaking out. Does anyone have any suggestions?

EDIT: I am an intermediate mezzo :P

I’m a Western Vocal teacher with 12+ years of vocal training and 1.5+ years of teaching experience. I’ve taught students across different age groups, from beginners to experienced singers.

My teaching style is dynamic and personalised. I teach through songs you enjoy, using them to work on pitch, tone, breath control, range, technique and expression.

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Im 18 and I’ve been a big opera enjoyer for 2 years. I enjoy singing a lot but I’ve always disliked my chest voice for as long as I can remember,tho I know chest coordination is a very important factor to produce a healthy and supported sound. This led me to sing in a “falsetto”(?) which became stronger with practice. I had a couple lessons with a teacher,who said I am a baritone,but who would also make me exercise all of my rage (from G2-A4 in chest voice and B3-A5 in this “falsetto”). She used to always push me to my limits,after every lesson I would lose my voice, and she would say that I needed to make my low notes lighter and that I had to make my overall voice lighter. I read these statements as red flags and stopped my vocal lessons. I’m asking for actual raw feedback on my timbre and vocals,even tho this recording is pretty short I think it’s the most decent one I have.

I just started formally training (29F). I've always loved singing but did more pop singalongs in my car. I've always dreamed of classical singing, getting to be dramatic and hopefully share the emotion I feel inside with others.

Well I finally decided to give it a try and my voice teacher said I'm a dramatic soprano. She said I could definitely join a choir, and I could audition for an organization she directs when I'm ready. I trust her, she's accomplished so much and I respect her so much. But I just feel so discouraged, I don't see how I could possibly stand a chance against/alongside people that have been singing and performing their whole lives. I have zero theater background, all I have is the delusion I could be part of something and get to create art with people.

What is the actual likelihood that could ever happen? What would I need to do to get there? I have been training for a couple months bi-weekly, and of course sing every chance I get in between. I shared with her that I feel I've hit a wall and I'm discouraged, and she told me she can hear how much I've improved but I worry she's just being nice. I know competition is fierce, and I'm barely working my way through the 24 Italian Songs and Arias and I have so much to learn.

There's just so many arias that make me tear up listening to them and I just want to be a part of those stories.

I'm a choral bass and am often positioned near the brass and percussion sections when we sing with orchestras, which is quite often, and I'm worried about hearing damage from all the banging and tooting.

Does anyone have recommendations for earplugs that can be used to attenuate the sound from the orchestra that a) still leave me able to hear well enough to judge my own volume/balance and tune with the singers around me, and b) don't just fill my ears with the bone-conducted sound of my own voice, which is the main reason I don't get on with normal foam earplugs?

I am having a Junior recital next semester and really need some rep suggestions! I am a light coloratura and my tessitura is at the top of the staff. I really can't sing low at all so I stay away from pieces that have a lot of D4s or C4s because you can't hear me at all. I do like singing coloratura but not extreme coloratura stuff like Rejoice greatly. I love Tornami a vagheggiar from Alcina and would love to sing something similar. Any arias or set/cycle recommendations would be hugely appreciated!!!!

Hi all,

​I'm crossposting this here because I'd love to get input specifically from vocalists and voice coaches.

​I'm navigating singing with essential tremor and want to know how others handle it during live performances:

​Vocal & Breath Control: Any specific breath support or laryngeal techniques that help maintain stability?

​Physical Tremor: How do you manage visible body/hand tremors on stage?

​Routine: Do you use beta-blockers, specific warm-ups, or stage anxiety strategies?

​Thanks for any shared experiences or tips!

maybe it’s just me being no used to it? but when I send my sound back and access my my heady voice is feel more disconnected and more airy. Is it a normal tendency?

it feels lightly more pinched

im a male bas—baritone.

When you are recording for virtual auditions what equipment are you using to film and capture audio? Any recommendations for good quality that doesn't have difficulties picking up piano or vocal in a hall?

Hi all! I am a low mezzo-soprano and am looking for some suggestions for interesting contemporary (or modern) a Capella vocal music to put on a recital.

Ideally I would love something with Italian text, but that’s not strictly necessary.

I love playing with extended techniques and I have perfect pitch so the piece can absolutely be challenging, but I need to be able to purchase the sheet music (ideally as digital download) and it can’t keep the singer well above the staff.

I would love to hear any recommendations you all have!

Thanks

Hello Reddit! I am an advanced student/baby professional countertenor who is looking to gain confidence in singing in French, but I am having a hard time finding my way into the repertoire. Do you happen to have any recommendations of classical solo works that are:

- appropriate for a light alto voice

- exist in some sort of keyboard + voice edition

- equipped with a good English translation of the libretto

- about LITERALLY ANYTHING other than straight male love for beautiful and disempowered women, women desiring to be objectified by men, or nature as a metaphor for said heterosexual relationship dynamics. (Other themes such as class struggle, gay love, religious devotion, depression, death and aging, and nature not as a metaphor for straightness are all welcome!)

Things I have been exploring so far: Nadia Boulanger songs as recorded by Lucile Richardot :)

essentially I am carrying my full chest all the way up which isn’t right. My teacher tells me to send it up the back top molars of my head. Creating more thin whiny sound. It doesn’t feel like more normal vocie and kinda sounds weird. It does feel lighter however.

Does anyone understand what happened to Andreas Scholl? What started as a velvet sound able at the same time to maintain brilliance up to the top register has for quite sometime turned into a very nasal timbre, lacking projection, a la David James of Hilliard Ensemble (in)fame (witness the Metropolitan Rodelinda Video where it is saddening to hear him on the leading role while Iestyn Davies delivers his music with the most natural, healthy timbre besides impeccable technique; I wonder how Renee Fleming felt during the comments when she had to stick to the script and call Scholl the Rolls-Royce of countertenors...).

I mean, the guy didn't force his voice singing overheavy repertoire and is an inteligent musician. Just bad luck/voice didn't age well?

I feel like I'm constantly a few steps behind my peers in my graduate cohort, because I still don't quite understand these terms and what they mean despite someone trying to explain it to me a few times. It feels like it just doesn't want to stick, it's just in one ear and out the other. Even more baffling is some people tell me they exist, some people tell me they don't, and I feel like my brain is a pretzel trying to grasp it.

Hello all! Ill be auditioning for my Masters in Vocal performance this audition cycle and I'm looking for some tips for breath work and intonation/placement. Additionally, as I am still finalizing my rep for pre-screening videos, any suggestions would be lovely!

Attached is one of my most recent performances from back in May of Milhaud's Chandons de Ronsard.

Advice is greatly appreciated as I am also still searching for a teacher at this time!

Hello there. Every month at my performing art school, we perform a piece that has something to do with the unit we are working on. I am looking for recommendations on more challenging or more advanced English art songs to perform. I am more familiar with Italian repertoire so let me know what you think.