Abstract
While Roland Barthes' phrase ‘the grain of the voice’ has been endlessly analysed as to what lies at the core of its meaning, another phrase from the same essay, ‘voices within the voice’, might have an equal significance in the understanding of the performative aspects of the operatic voice. After a brief survey of current views on voice in opera, the discussion focuses on Thomas Adès' version of The Tempest; in particular, the way in which the idea of voice in opera is problematized through the representation of the character of Ariel in this opera. In many ways this character embodies current ideas on performativity and the operatic experience, both through vocal as well as physical presence.
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