Dr. Prof. Peter Anton Ling

Prof. Dr. phil. Peter Anton Ling, baritone, was born in Ludwigshafen am Rhein. He attended a scientifically oriented high school where he studied theology and philosophy, then went on to study vocal and music pedagogy at the Universities of Munich, Mainz, Halle/Saale and the Conservatory Mainz, receiving his doctorate for research into the Fach system.

As a concert singer, he has appeared in Austria, Italy, France, Luxemburg and Japan as well as Germany. In 2008 he sang oratorio and Lied at the Festival Rencontres Musicales de la de Vallée de L’Alzette Luxembourg/France, the Aschaffenburger Bachtagen, Schlosskonzerten Solitude Stuttgart, the Weseler Domkonzerten and the Lübecker Dommusiken. He has done live recordings and productions with ZDF, SWR, Arte, Swedish radio, HR und BR and most recently with Radio Luxembourg. As an opera singer, he sang at theaters and festivals in Heidelberg, Darmstadt, Essen, Kaiserslautern, Koblenz, Osnabrück, Theater Regensburg, Basel, Bern and Frankfurt/Main from 1983 to 2003. From1989 to 1999 he was a member of the ensemble at the Staatstheater Mainz.

From 1993 to 2000 he taught at the Peter-Cornelius-Konservatorium and the Johannes-Gutenberg-Universität Mainz, after which he accepted a professorship at the Hochschule für Musik und Theater Hannover. Peter Anton Ling teaches masterclasses for voice and the analysis of voice Fach at the Studienzentrum für musische Bildung Forum Artium in Georgsmarienhütte and at the Bayerischen Musikakademie Hammelburg. He has been invited to present the results of his specialized research at universities and for professoinal associations.

Voice Category, Voice Type and the German Fach System

Professional classical singing voices are divided into categories of low, medium and high ranges. In Germany, operatic voices are furthermore described within a system of so called Fächer for classification within the varying demands of operatic roles, e.g. Soubrette, Koloratursopran, Heldentenor, Kavalierbariton, etc. These designations exemplify, that the Fach system categorizes more than the description of mere vocal qualities.

For this reason, the term Stimmfach needs clarification. It is not only a description of vocal attributes but also refers to roles of a particular character, suited to specific types of singing performers. It is deemed desirable that special types of singers should show appropriate types of vocal equipment, but also posses many other general artistic and musical attributes.
It follows that descriptions of Fach depend on the most divers factors, such as voice type, sound quality and structure, vocal technique, particular ways of acting, types of roles, vocal range and, of course, any possible combinations of these attributes. Occasionally it can be said that the description of a Fach and the origin of the term itself do not correspond with each other, but tradition has led to generally accepted associations. At times, Fächer of very different origins are considered interchangeable because the appropriate vocal types themselves seem to be sufficiently similar. As a rule, vocal Fächer have been taken out of their original historical context and are used to describe similar voice types within any stylistic period.

Both the definition of Fächer and the classification of roles to suit particular voice types are treated in various ways in professional literature, sometimes in agreement with each other, sometimes however not. Many singers are categorized by voice teachers, vocal coaches and operatic managers as well as by colleagues, as belonging to contradictory Fächer during the course of a career. Pronouncements about belonging to a particular operatic category are frequently made at the onset of training as well, a time when such statements seem absolutely superfluous and even dangerous. Statements such as “You are a typical Jugendlich-Dramatische.” or “You will most certainly be a Charakterbariton.” are common.

Artistic development is often cited as the source of further development of the characteristics and special requirement demanded by specific Fächer. At many German opera houses it has become customary for theatrical and musical directors to test a singer’s ability to undertake a heavier role considered to be beyond his/her Fach, making it possible to cast the singer beyond the contractual stipulations without overtaxing the singers’ voice.

The differentiation of Fächer and the classification of singers and roles within the Fach system often prove difficult because, among other things, a precise definition of, or at least a clarity of convention in connection with Fächer, needs to be common consensus. The scanty information offered by professional literature is imprecise and contradictory. Experience tells us that various listeners may analyse and identify voices very differently. Therefore, there is an additional difficulty in correctly determining a Fach, stemming from the fact that apart from looking at the voice itself, other attributes like technical prowess and suitability, physical attributes and the kind of acting ability come into play. Consequently, the results of various methods of role classification turn out very differently.

The consideration of all these factors leads to a number of basic questions: How is the systematisation of Fächer actually handled in everyday operatic life? What does the concept of the German Fach system really mean? Are the Fächer really established categories?
How is classification influenced by other factors such as theatre size and the acoustical qualities of the auditorium, orchestral quality, conductors’ sensibility, singers’ artistic and musical ability etc., or even by the current market situation? In an era of generally advanced vocal pedagogy, should the system of defining a Fach be readjusted to meet the demands of a profoundly changing operatic scene and casting practice?