I have been working as a lecturer at the Folkwang University in Essen, at the University of the Arts in Berlin and at the Berlin Academy of Music as well as independently in popular music, jazz, chanson and classical singing training since 1995.

In a sphere of diverse vocal training methods, I work with the assumption that it is possible to develop a free singing voice – able to touch listeners with its authenticity – only if the singing and breathing techniques are in harmony with the physiological requirements. Every singer has physiological breath support that is related to his/her presence of mind and requires particular awareness. Only by acknowledging and exploring these sensitive processes in the diaphragm area can singers discover and develop their potential.

In my experience, the full freedom, projection and resonance of a voice, as well as its volume, can be developed only if the most exact proportions of the vocal folds’ external areas and mucosal vibration are developed and integrated. Only in this way can the voice remain healthy when meeting the heaviest demands. Compensatory pressure patterns and forced techniques used by singers to increase the “impact” of their voice ultimately reduce vocal performance. In order to maintain the capacity of the singing voice, it is important to integrate its vocal source with the speaking voice. Rather than producing an “artificial” speaking voice, this leads to a natural, free-speaking voice that is connected to low frequencies.