However, if the teaching is such that all sounds are formed on and with the air, the etheric always comes into play. This nourishes the singer directly and reveals the beauty of the elements that want to flow into the basic form of the lute at the elementary level. If this does not happen, the sound will not be able to be guided without a body.

This process is of course inseparable from the breath. Valborg Werbeck-Svärdström begins with exercises to forget the breath. Here too, a stage in the “School of purifying the voice” is placed before this by introducing the basic exercises with the elements. The exercises for “forgetting to breathe”, as Valborg Werbeck-Svärdström called them, only begin at the second stage. The elements in the preceding exercise can lead to an artistic breath. Other breathing exercises have been added, which shape and form the whole of Valborg Werbeck-Svärdström’s training into a comprehensive new school. In addition, a new school of exercises for professional singers/oratorio and opera singers has been created, which is already being taught to opera singers.

In the sound guide, the second stage of the “School of purifying the voice”, the NG becomes the central sound, because it is the central sound of singing. As Valborg Werbeck-Svärdström describes in her book, when practiced and taught well, the NG moves from the area above the lips via the nasal region, the third eye to the top of the head, where, together with the released M, it forms the released, revealed and purified voice.

The central point here is the opening, how the nasality is widened by different openings. Therefore, incorrect use of the NG can cause irreparable damage to the pupil’s voice. However, if this is successful in the very intimate relationship between teacher and pupil, various paths are opened up for the sound that can be produced in singing lessons.

The third stage of the School of purifying the voice opens up various new paths of sound in and through the human body. In order to pave these paths, knowledge of the physiological and functional activity of various muscle parts of the human body is required. Again, the starting point of this third stage is the first stage, which involves the elements. When the first stage is really successful, there is always an expansion of the sound as the Eustachian tubes, the connection between the larynx and the ears, are gradually freed and the sound of the larynx gradually emerges from the ears. In the past, the ear and larynx were one organ. When this phenomenon occurs, it initially stings gently and later very intensely between the ears and the larynx in the Eustachian tubes. The entire musculature, tongue, base of tongue and other muscle parts in the fascia must be transformed through appropriate vocal exercises. Furthermore, the entire constitution must be transformed. This is achieved through exercises developed by Valborg Werbek-Svärdström on behalf of Wolfgang Strübing. This involves other parts of the body that are only named during the lessons. It is only at this stage that it becomes clear whether the larynx lowers when singing. Various preparatory exercises must have been carried out for this. Only when the larynx is lowered can the expansion really begin.

There are different paths that the sound now takes through the human body:

1. The first is the path through the cavities of the head, in which the nostrils, together with the NG, play a decisive role.
2. The second is the path from the larynx through the extended path of Eustach’s tubes, so that the sound also emerges from the ears. There is a lot to add, which will be opened in a book in the future and shortly.

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From the church choir in Hildesheim to various top ensembles, I also sang as a soloist in performances.

I also founded and directed the Odinquardett, which had many engagements. I also performed various works as a choirmaster. At the same time as developing the “School of purifying the voice”, I have accompanied and taught various singers (opera and oratorio singers). 

Even when I was at school at the Andreanum (Hildesheim), I had the opportunity to sing every Sunday at St. Michael’s Church, as I sang in both the children’s choir and the “Kantorei”. Regular choir trips in addition to concerts and concert tours allowed me to continue to experience singing as the source of my life. Through the choir and the Andreanum, I came into contact with Thomas Quasthoff, also an Andrean, whom I was able to experience, especially his voice.

At the age of 24, I had the first encounter with what was then known as the “Schriefer-Choir”, which he conducted. It was a wonderful sound that could be heard from this choir. Monika Mayr (her name at the time), who practiced with some of the singers before the choir rehearsal, became my first singing teacher. It was a wonderful transition through this choral sound created by the choir singers. In addition to singing in other choirs (Ludwig Kaiser; then the Hugo Distler Choir Dortmund), it was above all moving into Jürgen Schriefer’s house in 1989 / 90 that allowed me to absorb many things very directly, as I was allowed to make breakfast every day and then ask a question that took him 1 ½ to three hours or longer to answer. So I was taken in by him and introduced to many things.

One day, Wolfgang Strübing came to visit Jürgen Schriefer for lessons. We got to know each other over breakfast and he invited me to join the Caecilienchor in Berlin. I immediately followed his call and became a singing student of Wolfgang Strübing from 1991 – 2001, as well as a member of the Caecilienchor.

Wolfgang Strübing had said to me that I was in a position to continue the “School of uncovering the voice”. I then did this under the name “School of purifying the voice” and made it public from 2006 onwards. It was important for me to visit various students of Valborg Werbek-Svärdström. First of all, Elisabeth Haid came to me as a student at the age of 84 (2004). She had been a student of Mrs. Werbek-Svärdström for a long time. Mrs. Werbeck said about her that her voice was the closest to her own. For years she was my pupil. I also visited Mrs. Meyer from Eckwälden, who was also a student of Mrs. Werbeck. I also visited Mr. Birkenmeyer from Switzerland, who was terminally ill and was saved by her singing.