“DSDS” loses to “The Voice”: the big problem is Dieter Bohlen

opinion

The best casting program on TV: because “The Voice” surpassed “DSDS” a long time ago

Castings are an indispensable part of German television, but there should be people who think it would be the same anyway: candidates are emotionally exploited, burned and after a few months at the latest most of them are not heard. This can be applied to many formats, but “The Voice of Germany” is this program that I put my hands on fire for at any time.

Their strengths are particularly evident when compared to “DSDS” – another great success. While music is at the fore in one show (as it should be), the other primarily seeks show and big drama. “The Voice of Germany” proved effective without introducing its participants and simply has the concept clearly preferable.

What “The Voice of Germany” does best

The so-called “blind auditions” have a decades-long tradition in the orchestral world, and for good reason: a person’s visual appearance always plays a role in their evaluation, because each carries certain prejudices. But if you don’t see a candidate from the start, all that’s left is talent.

“The Voice of Germany” has adapted this procedure and therefore signals: we take our artists seriously on stage and give them the marks they deserve. That is to say as neutral as possible. By far the most important thing is the voice, you can work on the details later.

“DSDS” takes a different approach. Dieter Bohlen and his fellow jurors meticulously review their candidates and select them for the star factor. This means here: do you provide a good story? Can you entertain? Are they causing a stir, perhaps even scandals? After all, every print is good print.

Of course: “The Voice of Germany” also introduces individual personalities in the clips, sometimes emphasizing certain destinies. However, this is not exactly the deciding factor in reaching the next round, because the coaches remain ignorant. Only with the Allstars, who have already tried their luck a previous season, can there be subjectivity loopholes – provided the jurors recognize them by their voice.

“The Voice” and “DSDS”: individuality versus predictability

Nobody has to bow to or for “The Voice of Germany”. On the contrary: the coaching teams are put together based on their experience in such a way that the most diverse genres are taken into account: rock, pop, soul, hip-hop, hit, reggae, everything somehow comes under.

In the jury of “DSDS”, however, there is mainly a big problem and this is Dieter Bohlen. He has specific ideas about how a winner “should” be and how not to anymore. Look for mostly stars and only secondarily good singers. This basic orientation always prevails when in doubt, because “DSDS” is its “child”. All other jurors are interchangeable. Motto shows suggest a stylistic variety where it doesn’t really take place.

It’s okay that former “DSDS” candidates often stay in conversation through private dramas rather than their own music. Menowin Fröhlich and Annemarie Eilfeld prove that the way to wipe out TV is no longer far.

“The Voice” is much more fun than “DSDS”

While with “DSDS” Poptitan Bohlen seems to rule with an iron hand, there is always a pleasant balance between the coaches of “The Voice”. The fact that they themselves also take the microphone at “blind auditions” is debatable, but undoubtedly the fundamentally different characters enrich the show, especially when they stubbornly fight for talent and sometimes for loving creations like “Dark Forster” or “ein Nico- Santos distance length “arise.

You look for this nice lightness in “DSDS” mostly in vain. Because wherever Dieter Bohlen is, there must be discipline. At the same time, his credo is: “None of these people should be bigger than me”. It reliably prevents attendees from enjoying the shows of their life. The fact that the recalls take place in exciting places outside of Germany is hardly a consolation. What a serene and joyless event.