The alarm rings at 8 a.m. At 8:30 a.m., music theory class begins. Later, there’s a voice lesson followed by an acting or dance lesson. The next day is ear training class, a piano lesson, and time with a coach for repertoire preparation.
This schedule could very well be that of a vocal performance major at an American university or conservatory. But it’s actually a typical schedule for an undergraduate voice major at the Hochschule für Musik in Detmold, Germany, where the training is comparable to an American university or conservatory with one big difference: the tuition. There is no tuition at German universities.
Since October 2014, all universities in Germany have been tuition free—even for foreign students. Instead of being paid for by students, German universities are funded by the German government, which believes everyone in the world should have access to higher education regardless of financial status.
Meanwhile in the U.S.A., the cost of going to college has gone up about 500 percent since 1985. The average undergraduate borrower in the United States leaves school with $28,400 of debt.
Carolyn James, American voice professor at the Hamburg Hochschule für Musik und Theater, says American universities exist to perpetuate themselves, and the amount of debt students must take on proves it.
“Anyone who’s willing to pay the price pretty much gets a place in a vocal program—even at places like Juilliard. It’s like ‘You want to pay $80,000 over two years? Sure, you’re in.’ For singers willing to take a risk and dive into a culture that supports music, Germany is where it’s at,” she says.
American Caroline Thomas, a tenured voice faculty member at the Hochschule für Musik in Detmold, agrees. “We’ve become too capitalistic in the U.S. The German system is socialistic. This word tends to scare Americans until they experience socialism first hand. Then they realize socialism can be great because you get so much in return as an individual.”
James is often asked why there are no Americans in her program at the school. Her answer? “It’s became Americans don’t know about the opportunities for a vocal education in Germany.”
Now that you do, Thomas and James have some tips for you to increase your chances on being accepted into a German music school.
First, learn German. All students at the Hochschule für Musik in Detmold and at the Hamburg Hochschule für Musik und Theater must pass the B2 German Certification Examination for final acceptance into the program. But James says not to worry.
“Look, I had two Korean tenors who both had zero Deutsch,” James says. “They came to Hamburg and spent eight months, five hours a day in an intensive class and got their B2 Certificate by the deadline. It’s doable. Really. You just need to be able to communicate. And anyway, you should learn to speak the language you’re getting a free education in.”
James and Thomas also recommend finding a tandem partner. This would mean finding a native German speaker who wants to learn or improve their English. Then you would spend half your time together speaking in German and half the time speaking in English.
Second, take music theory and ear training. German high school students will have already taken these subjects, so courses at German colleges start at a higher level than they typically do in the U.S. Most German music schools also test their incoming students in these subjects before they are ultimately accepted into the program.
Lastly, get your piano skills together. You must also pass a piano exam to be accepted at most German music schools.
Sound rigorous? According to Thomas, acceptance into a German university can be harder than acceptance into an American program since there are only so many places in a state-run, tuition-free program. The Detmold school, for example, has only 52 vocal students in all of its programs and the Hamburg school has only 56—and just eight of those places are for undergraduate students.
Successful auditions at both schools include the demonstration of extraordinary talent, a wide range, and an ability to sing in a variety of styles. You also must show that you belong on the stage.
James recommends singing what you love and to contact the professor you’re interested in studying with ahead of time. “People audition for me all the time. That’s important because I get to know them. I make a list in my head about whom I’m interested in and whom I would want to teach. If a great voice comes in and hasn’t contacted me, I’m skeptical. Take four days to get over your jet lag and get rehydrated and then audition.”
In addition, to be successful at an
audition in Germany, Thomas recommends spending time understanding the German way of teaching and learning. Germans are more direct in their criticism, for example. The culture also doesn’t reward showiness in the way American culture does.
“Germans would see an American high school music show full of pomp and circumstance and think it’s too fake,” says Thomas.
Still, she says that while German culture is understated, she’s seen everything at auditions—from Bulgarians wearing sparkly clothes to Asians in evening gowns. But in the end she says, “If you can sing, it doesn’t matter what you wear.” But James adds, “There are three colors you should remember: noir, schwarz, and black.”
Thomas stresses that it’s also important for potential students to understand the German way of hearing. Americans tend to think loud is good. But in Germany, small tones are important and so is diction. You must also show you understand what you’re singing about. “You need both technique and fire,” says Thomas.
Voice programs at German universities
prepare the student to sing professionally and are less academic than many American programs. “Our department is all about performing. You get two voice lessons a week, two private coachings a week, and more,” says James.
In addition, the professors at German schools have all been professional singers and not academics. “The people teaching you are the people who have performed. We are all opera singers, all performers. We don’t have PhDs who teach voice but have never had a performing career. Experience makes you the teacher. Doctorate degrees are seen as skeptical in Germany,” says James.
One thing James finds lacking at German university vocal programs, however, is language teaching. This is partly because when the music schools were formed, all the music being performed was in German so there was no need for other languages. Even when she arrived at the Hamburg Hochschule in 2010, there was still no diction program. “People told me if they needed to learn an Italian role, then they just flew to Italy. Well, I brought the IPA (International Phonetic Alphabet) to Hamburg even though they kicked and screamed.”
If a free education doesn’t convince you to attend a German university, maybe joining the country’s cultural legacy will. “Living here is like a dream. It’s wonderful to be a living part of music history. Culture is important to the European soul. Classical music is very well regarded and seen as a necessary part of the culture,” says James.
And then there are the job prospects right out of school. Because the state sponsors opera houses in Germany, there are still many opportunities for stable singing jobs. James estimates that in the U.S., the government sponsors about 1 percent of an organization like the Metropolitan Opera. She considers the lack of American governmental support very sad, especially considering the amazing amount of depth of the talent found in the United States. “Germany is one of the only countries in the world where you can still get a steady job as a singer,” says Thomas. “So why not learn its language and culture as soon as you can?”
About 15 percent of the graduates at Hamburg Hochschule für Musik und Theater get singing jobs. But James estimates the percentage of working vocal graduates in the U.S. at about only 5 percent or even lower.
And, according to James, Fest positions in German-speaking Europe can lead to a comfortable life—and if you don’t get too comfortable with those, you can still go far professionally too. “There’s value in having a life!” she also adds. “When I started my career, I didn’t think about Germany, but now I wouldn’t want to be anywhere else. So take courage! Bring your voice to Germany!”
