The “Functional Voice Method”®

I discovered this methodology in 2006, completing my study of and training in it in 2010, which then enabled me to teach and spread its principles. This encounter was crucial for me, both as a singer and as a teacher as it significantly enriched my more traditionally-orientated teaching approach. This is why I do not teach through ‘vocal exercises’, but rather through sensorial experiences that leave a mark on students and guide their vocal approach.
Here is a summary of the Method:
Conceived and put into practice at the Lichtenberg Institute (Germany) by doctor, researcher, and singer, Gisela Rohmert, along with her collaborators, this is a new Method of approach to the human voice, the aim of which is to stimulate and reorganise the way the system wprks by developing the faculties of perception.

Consequently, the goal is managing to perceive what the right relatrionship with air and the re-organisation of breathing is; to perceive vibration as the primary matter of singing; to perceive the phenomenon of resonance and space and the tissues whose role it is to create it; and to perceive the frequencies emitted capable of endowing it with brilliancy and intensity...
In other words, we must perceive the body in all its neutrality and willingness as a basis for learning how to let go of singing models based on muscle control; we need to find our way to a state of calm where sound becomes the guide directing and organising everything. In this way flexibility and vitality are restored to the voice, the hearing, breathing and the body.

This approach to study not only forms one for singing, but is also capable of providing a pathway towards the attainment of an enhanced perception and awarenes of the self and the body. The sound of one’s voice is integrated and connected with the larynx, the ear, breathing, the organs of sense, the brain and the psyche, in order to bring the benefits of all these connections to vocal and musical expression, as well as enriching one’s inner world.
In practical terms, this means obtaining the maximum result with the minimum effort, and in the process developing a brilliant and powerful sound, capable of energetically nourishing both the singer and the listener.



“Let singing educate the muscles” (Lamperti)