Csilla Szabó was born and raised in the west of Hungary. She showed interest in music from a very young age, but only were able to start to learn it in an institution at 15. By that time the thirst grow for studies so deep in her, she gladly would give all her free time for music. In a local music school Hungarian folk were introduced to her, and the next five years she spend deeply focusing on folk music.
Take part in many local and regional groups, learned briefly manny specific instruments (citera, pásztorfurulya, tilinkó ect.). Spending after school hours, and all holidays with rehearsals, and research. Being a regular resident in summer music camps, and cooperating with performers, dancers and older generation’s quires. Appeared in a lot of regional events with her fellow singers, as a representation of the traditions were not present by the time and take part of many folk related contests.
The many struggles on her voice with the lack of the technical education made her to reach out to a classical teacher, and opened her eyes for all the different genres in her last year of high school. After graduating decided to move on, with both the genre and the location too and moved to the capital (Budapest). Starting in a special technical school for jazz called ETÜD music school, spent three years ended with a successful exam and great amount of experience both in jazz and in classical music.
Ironically the most influential teachers wasn’t from her own field, what made her alert on not limiting herself only on studying strictly from her own style and instrument, and try to use different methods, learn as many ways as possible, to be able to help herself, and later others too. This was the period when she first had the attempts of teaching, helping out with starting actors, and teachers with basic technics for successful exams. If there was an opportunity, she gladly went to take part in master classes and workshops, meting many people hearing from different methods.
Earning her first bachelor in a non-related religious Buddhist university from Japanese in the next three years, but spent all her free time with extra vocal, piano and theory classes and forming her musical language constantly. Dedicating even her thesis on forms of religious vocal music. She find her way back to music, but after one year in a college of jazz, she decided to leave for Belgium, and start over in a different country for studies of music and work.
“The journey never ends, but you have to admit it is the traveling you really seek for.” It is specifically true for music education. Although with the experience of many years of teaching she wouldn’t call herself an all knowing vocal guru, because that thing doesn’t exist. She thinks you always have to be opened, and ready to learn, even with many years of experiences, you can’t let your ego fool you. You are there to help others, any way they need it. There are thousands of schools for vocals, and many great teachers, she hopes she is one of them.