TEACHING: VOcal studies, SINGING, MUSIC, COACHING, Acting, STAGE PRESENCE

Beginners and professional singers receive individual lessons from me. I prepare singers for auditions, for the stage craft and next career steps. I look after singers attentively and competently during their singing career. Based on the principles of coaching, I offer targeted instruction in my institute:

  • Healthy vocal technique

  • Breath and voice,

  • Voice training,

  • Musical interpretation

  • Expression and presentation,

  • Perform recital repertoire in multiple languages

  • Literature and interpretation,

  • Performing skills,

  • Acting and stage presence,

  • Career planing and personal development

In doing so, I attach particular importance to perceiving the person in front of me as a whole. Based on the current state of skills, step-by-step development takes place. Together with my student, I formulate an objective with subgoals within a set timeframe. This enables the student to self-organize as soon as possible.

Classes are held in English or German. Lessons are held in person, and in urgent cases via Skype / Facetime.

The overarching goal is the competent, independent singer, who enjoys singing with a healthy singing technique and is successful in his stage career.

The dramatic soprano Vera Wenkert founded the international Institute StimmKunst in 2012 as a centre of excellence for professional singers, actors and students.

Based in Zurich, Vera Wenkert offers individual lessons, masterclasses, seminars and lectures as well as help for vocal problems. Institute StimmKunst offers complete artistic training through goal-oriented lessons which a focus on technique, musical interpretation, acting as well as career coaching. The international Institute StimmKunst fully prepares singers for auditions, stage work and the next steps in their careers.

Vera Wenkert’s students are engaged at international opera houses such as the Opernhaus Zürich, Theater Basel, Grand Théâtre de Genève, Opéra de Marseille, Oper Tolouse, Residenztheater Berlin, Nationaltheater Mannheim or Staatstheater Mainz.

TRAINING YOUNG DRAMATIC VOICES AND ASSISTANCE OF SINGERS IN THE DRAMATIC FACH


Especially dramatic voices require a sophisticated, healthy vocal technique and the ability to work out vocally the large parts of the dramatic subject and bring it onto the stage. I support you in building a healthy, expressive and resilient vocal voice. For this I make available to you:

  • my own high singing culture

  • my stage experience in the dramatic fach

  • my many years of teaching experience my great mindfulness in dealing with singers in general and especially with young dramatic voices.

One of my core subjects IS THE GERMAN FACH - WAGNER, STRAUSS ...

Vera Wenkert

Vera Wenkert

Working with the voice is always connected to a person's own work on him- or herself and on his or her being.

Singers in particular are often subject to much pressure in their daily professional lives and this can take a toll on the voice. Too many performances and the pressure related to peformance, few rehearsals and little time, the get the role to "sing on the voice", can all have adverse reactions on the voice. In addition, there are also air-conditioned rooms, trains, airplanes etc. with which we have to deal.

“Many years of personal experience as an opera singer, intense observing and studying the function of the voice, form the basis of my respectful work with people. From this, I have learnt that every voice is just as different as every individual. The functional exercises must therefore be individually tailored for a particular singer. Successful work on the voice incorporates a trustworthy atmosphere with a conscious responsability in order for the voice to bloom into its full potential.

The Swedish-Italian School of Singing, the tradition that I teach, meets this demand.”

You can find more detailed information here:  www.vera-wenkert.de

Inner peace, silence, patience and confidence will serve as the foundation.


Vera Wenkert is a fine dramatic soprano with a great ear for teaching. She is very precise in hearing vocal problems and in offering solutions that get complete results. I strongly recommend Vera Wenkert as a teacher for any singer looking for vocal help and wanting an accurate diagnosis.
Her performance experience also compliments her teaching ability in that she knows languages and stage deportment.
— David L. Jones, International Vocal Pedagogue, New York

THE SWEDISH-ITALIAN SCHOOL OF SINGING

The tradition of the Swedish-Italian School of singing has its origins in the 19th century with Manuel Garcia d. Jilli Bjorling, followed by Gillis Brad (Swedish voice teacher and singer doctor) then to Joseph Hislop, Ingebjart-Isene and Birgit Nilsson, Kirsten Flagstad, Jussi Björling and finally Alan Lindquest. His pupil, international voice teacher David L. Jones continues this method of teaching in New York. For many years now I have been his associate teacher.

Alan Lindquest formulated these following areas of development:

  1. Developing the right attitude.

  2. Working on the correct respiratory reflexes.

  3. Developing awareness of relaxation in the swallowing apparatus.

  4. The perception of open resonators.

  5. Developing ease in the use of the articulators

  6. My teaching method meets all these criteria and leads to a solid vocal technique.

A singer cannot hear himself as he will be heard from his environment. Therefore, he will be taught not to listen to his sound but rather to physically acknowledge the sensation when singing.

The training of the voice is not only the development of a physical instrument that needs to be cultivated to have the correct structure and function but also goes hand in hand with the development of the singer's personality. Peace, silence, patience and trust form the foundation. Alan Lindquest expressed the following areas of development:

  • The perception of correct posture.

  • The perception of the correct breathing reflexes.

  • The perception of relaxation at the swallowing apparatus.

  • The perception of open resonators.

  • The perception of the correct movement of the articulation apparatus.

The Swedish-Italian School of Singing, the tradition that I teach, meets these demands.

Have a look on references.