teaching

teaching

teaching

teaching

teaching

teaching

teaching

teaching

teaching

teaching

teaching

teaching

Christian Hilz

My fascination for teaching began already during my studies and I can now draw from more than 30 years of pedagogical experience in diverse institutions and cultural environments.

There are three equally important domains that categorize my teaching at the university level:

  • The buildup of a dependable vocal technique to be used as a primary prerequisite for an individual artistic degree of expression.
  • Musical and textual work and the development of an understanding for the role, perspective, and for one’s audience in the field of opera as well as in art song and concert repertoire.
  • The guidance, support, and supervision on the way to both an authentic artistic identity and an appropriate field of professional artistic activity.

This work process is based on empathy, esteem, and respect and is always strength-oriented. I understand this work as a joyous growth process that arouses curiosity and in which humor should not be neglected.

In my pedagogical work, I draw not least from my own artistic experience in manifold styles, genres, and epochs, my interest in languages and cultural history, and above all the love of music which represents the means of my emotional expression.

Singing is a simple, human impulse yet a highly complex procedure. If one’s aim ist to make the handling of the voice in respect towards the performance of classical music solid and securely reproducible, it is necessary that the intuitive be joined to the technical. If we are to be taught to use our voice correctly, if we allow it to grow and mature, we conversely need to allow the learning process to be influenced by these physiological procedures. The reciprocal effects of these interactions are intensely individual and, according to each student, must be individually determined.

In the technical work on the voice as instrument, we develop various skills and our aim is to bring these into balance. Examples are:

  • A naturally flowing, energetically supported flow of breath on the basis of mobile but powerful bodywork.
  • The discovery and conscious use of resonance chambers.
  • Clarification and training in the process of vocalization and articulation.
  • Development and training of mobility, balance, phrasing, dynamic differentiation, and tonal color incomprehensible steps.

The overarching objective is a high degree of technical consciousness leading to the self-sufficiency of each singer.

This artistic work is characterized by the interaction of text and music.

  • Textual permeation, declamation, and phrasing based on an emotional impulse that results in a musical articulation.
  • Tone color and dynamics are aspects that develop out of both the textual template as well as the musical realization of each composition.
  • Training of musical and linguistic parameters, always in combination with vocal implementation as a necessary fundament.
  • As an undergirding, the use of stylistic knowledge and the historical context of text and composition.
  • Exploration of cogent means of communication with musical partners and with the public.

The occupational profile of a singer in the 21st century has become increasingly diverse. The demands placed on young singers, when attempting to find a place in this profession are ever more challenging.

It is my view that it must be an important goal for students to develop an independent artistic identity as well as a consciousness for individual strengths and preferences and for this to be the basis for the encouragement of versatility and flexibility. Providing support during this process of identifying the correct paths leading from the University to a professional career in the field of music is not only an individual but also an inspiring activity.

In the framework of my professorial chair at the University of Arts in Bern, I have the opportunity to devote myself to just these long-term development processes. I happily provide support for young people in their preparation for study, whether this study is in the form of the University of Bern’s pre-college programs or in private lessons.

In the realm of collegial vocal coaching for those singers already practicing or on the brink of beginning a career, please feel free to contact me here.

As the Artistic Director of the Austria Baroque Academy and in cooperation with the Belgrade Baroque Academy I am regularly given the opportunity to confirm and underscore my love for the music of the baroque era.

Courses that deal with various themes and genres supplement my pedagogical palette.

I look forward to your direct communication with me.

nach oben