Opera Singer Research Articles

Morphological assessments of the oropharyngeal isthmus in professional singing.

and Aims We conducted this research motivated by the incomplete knowledge of the changes made by resonance and harmonic filtering processes made by articulatory gestures in the supralar-yngeal level of the vocal tract. Aim of research The goal of the study is to evaluate the adaptive changes taking place at the oropharyngeal isthmus during sustained phonation. Methods We focused on exploring the dynamics of the oropharyngeal pavilion in voice professionals using Cone-Beam Computed Tomogra-phy (CBCT). Our study included 14 women with soprano vocals and 12 tenor men in 3 different situations: mimed phonation in a neutral position, sustained phonation on vowel /i/, which brings the larynx in a high position and sustained phonation on the vowel /ä/ which brings the larynx in a low position. Resutlts We observed particular traits of the professional soprano voice, developing as a series of motor patterns that allows the singers to emit high-pitched sound and to maintain them for a long period of time. Our results show that the lateral wall of the isthmic space addapts differently to phonation requirement after adequate and prolonged vocal training. s Vocal training seems to play a determining role in the functional synergy between the pillars of the palatine veil, which can be observed as a motor pattern. Conclusions All the linear and volumetric differences we highlighted show important anatomical and functional diffe-rences among opera singers, which depend both on the gender of the subject and on their respective trai-ning period. The results of our study have direct applicability in practice, addressed to the field of otorhi-nolaryngology, anatomy, physiology, radiology, canto and phoniatry.

Felicita Vestvali: Rebellious Prima Donna, Charismatic Actor, and LGBTQ Icon

ABSTRACT In this paper, we present the life and career of Felicita Vestvali: a queer woman contesting social expectations for gender roles and a traveling prima donna who was praised for her fine contralto voice and outstanding acting skills. She debuted at La Scala in 1853 and continued her career until 1863, when she reinvented herself as a dramatic actor. We discuss her most prominent roles, the reception of her operatic performances and examine her memoir. Since Vestvali’s musical career has been largely forgotten, this paper aims to reestablish her place among the most accomplished opera singers of the nineteenth century.

Considerations on the relationship between vocal performance, repertoire choices, and self confidence

This article examines the rapport between repertoire choices and self-confidence which ultimately impacts the quality of vocal performance. This research is based on semi-structured interviews with renowned opera singers that the author undertook during her PhD studies, as well as the author’s own experience as an opera performer and voice teacher in higher education. The conclusion proposes that there is a complex interplay between vocal technique, personal identity and the performer’s sense of artistic fulfilment.

The impact of the live broadcast of Stromae's song L'enfer on social media publications, calls to the national helpline, and suicide attempt rates in France.

On January 9, 2022, Belgian pop singer Stromae performed his new hit "L'enfer" live on French TV. The song addresses his personal struggles with suicidal ideation. To evaluate the impact of Stromae's performance, we modeled the evolution of hospital admission rates for suicide attempts (SAs) in France, calls to the national suicide prevention helpline (3114), and Twitter publications mentioning the singer or the helpline. We employed the Gombay test to identify change points within each time series. We identified a significant increase in mean SA rates among women aged 20-24years 6days after the singer's performance. No similar effect was observed in the general population or other young age groups. The show was immediately followed by a peak in tweets referring to the singer, while Twitter activity related to the 3114 remained modest. We did not observe any increase in calls to the helpline. Celebrity testimonies about suicidal experiences can help alleviate stigma but should be accompanied by prevention messages to reduce the risk of contagion.

Жыццё Аляксандры Мамонькі (Сташкевіч) у міжваеннай Празе (1921–1929)

The Life of Alexandra Mamonka (Stashkevich) in the Interwar Prague (1921–1929) The study of the biography of a particular person contributes to clarifying the idea of an emigrant, an emigrant hero, who, on the one hand, acts as an initiator of social changes, and on the other hand, is a hostage of historical events. From this point of view, the everyday life of Aleksandra Stanislavovna Mamonka (Stashkevich) (1899–?) – the wife of the famous Belarusian public and political figure Yazep Alekseevich Mamonka (1889–1937) is difficult in itself (a short life together with her husband, household unsettlement and vain hopes for a career and recognition) and difficult to research due to insufficient source base. Most of the information about the woman dates back to the 1920s. It is about the arrival of the Mamonka family to Prague; studies of Aleksandra Mamonka as a free listener at the music and pedagogical faculty of the Ukrainian Higher Pedagogical Institute named after M. Dragomanov in Prague; the political activity of Yazep and his expulsion from the ranks of students of the Ukrainian Agricultural Academy in Podebrady; Alexandra Stanislavovna's friendship with Sophia Fyodorovna Rusova's daughter (1856–1940) – Lyubov Lindfors (1886–1962); Alexandra Stanislavovna's attempts to find herself in opera singing.

Many-to-Many Singing Performance Style Transfer on Pitch and Energy Contours

Many-to-Many Singing Performance Style Transfer on Pitch and Energy Contours

Methodology for improving academic singing performance skills for music education students

This article analyzes effective methodological approaches aimed at improving the skills of academic singing performance for students of the music education department. The theoretical foundations of academic singing performance, its technical and creative aspects are covered in detail. The methodology pays special attention to the development of students' vocal technique, intonation accuracy and stage culture. In essence, this article highlights the possibilities of increasing the effectiveness of teaching through the use of innovative pedagogical technologies in the process of teaching academic singing. The results of the research serve to develop the creative activities of teachers and students.

ABOUT MAESTRO PUCCINI, A CRYING GEISHA, AND THE UNFINISHED TURANDOT

Abstract. The article is dedicated to the hundredth anniversary since the death of the famous opera composer Giacomo Puccini, caused by laryngeal cancer. First of all, the factors that probably contributed to the development of laryngeal cancer are analyzed: excessive smoking, stress, and physical trauma. The methods of treatment used in oncology in the early twentieth century are critically examined. The article also highlights the friendly relations and fruitful cooperation between maestro Puccini and Ukrainian opera singer Solomiya Krushelnytska.

Iz gledališke zgodovine: <i>Liebe kann alles</i> oziroma sezona 1833/34 na ljubljanskem stanovskem odru

This article presents a fragment of Slovene theatre history, focusing on performances on the stage of the German-language Theatre of the Carniolan Provincial Estates (Ständisches Theater) in Ljubljana during its 1833/34 season. The introductory part describes Amalie Maschek, an opera singer with extensive experience in theatre practice, who was then directing the Ljubljana stage, followed by a detailed description of the season’s repertoire. The focus is exclusively on the dramatic pro­ductions, and not on the opera performances. The article shows that the theatre’s repertoire, which included romantic rescue plays, classic comedies, vaudeville comedies (comédie-vaudeville), and magical fairy tales, was not far behind the Viennese and even Parisian productions of the first half of the nineteenth century and that the audience in Ljubljana could often see the plays just a few years after their premiere.

Manuel Salazar Zúñiga: su legado artístico y musical en el cincuentenario de su benemeritazgo

The interest of this article is to demonstrate the greatness of Manuel (Melico) Salazar (1887-1950), the highest tenor of Costa Rica. He sang in the most famous theaters in the world, along with the best opera singers of his time.

British Military Music and the Legacy of the Napoleonic Wars

Abstract Historians have increasingly stressed the impact of the French Revolutionary and Napoleonic Wars on Britain and Ireland. Less attention, however, has been paid to the legacies of martial mobilization after 1815. Drawing on hitherto unused press and archival sources, this article assesses the implications of wartime military expansion for the music profession, and musical culture more generally, in the decades after Waterloo. It demonstrates that men and boys who honed their instrumental skills in uniform embarked on a variety of civilian musical careers, becoming instructors, wind performers, composers, and even opera singers. The article traces the post-war circulation of regimental instruments and reveals that a multitude of militia and volunteer bands remained active long after demobilization. The wartime proliferation of military bands, moreover, encouraged the subsequent spread of quasi-martial wind ensembles in wider society. Finally, the article proves that brass bands were first introduced to Britain and Ireland in a regimental guise. The influence of the military on musical culture after 1815, in short, was palpable and often profound, and manifested itself in numerous ways and settings.

Effect of years of voice training on chest and head register tongue shape variability

The transition between head and chest registers in operatic singing has been linked to adjustments in the larynx [Henrich, 2006, LPV 31], vocal tract length [Tokuda et al., 2010, JASA 127], and resonance frequencies [Echternach et al., 2011, JASA 129]. Research on supralaryngeal articulator differences, specifically midsagittal tongue shape differences, during this transition is limited. Our previous case study showed a higher tongue dorsum in head voice for low and mid vowels compared to chest voice [Bengtson et al., 2023, CAA 51]. The current study with ten participants (8 female, 1 non-binary, 1 male, aged 19–23) further explores this and the effect of the years of vocal training. Participants were recorded performing a chromatic scale through their register transition, followed by a whole-tone scale in each register, with both tasks repeated twice on each of seven vowels (/a, e, o, ɚ, i, u, y/). The hypothesis is that vowel-dependent tongue adjustments would be observed, with more experienced singers displaying smaller differences between registers. Tongue shapes were traced using DeepEdge, and target frames were extracted [Chen et al., 2020, ISSP 2020]. Preliminary analysis indicates that the tongue dorsum is lower for chest voice and for participants with more years of voice training.

Derivations and Developments of Traditional Chinese Opera Singing in the Context of Chinese National Opera

Derivations and Developments of Traditional Chinese Opera Singing in the Context of Chinese National Opera

Operatic voices engage the default mode network in professional opera singers

Extensive research with musicians has shown that instrumental musical training can have a profound impact on how acoustic features are processed in the brain. However, less is known about the influence of singing training on neural activity during voice perception, particularly in response to salient acoustic features, such as the vocal vibrato in operatic singing. To address this gap, the present study employed functional magnetic resonance imaging (fMRI) to measure brain responses in trained opera singers and musically untrained controls listening to recordings of opera singers performing in two distinct styles: a full operatic voice with vibrato, and a straight voice without vibrato. Results indicated that for opera singers, perception of operatic voice led to differential fMRI activations in bilateral auditory cortical regions and the default mode network. In contrast, musically untrained controls exhibited differences only in bilateral auditory cortex. These results suggest that operatic singing training triggers experience-dependent neural changes in the brain that activate self-referential networks, possibly through embodiment of acoustic features associated with one's own singing style.

The Singing Techniques of Traditional Chinese Yu Opera in Sociological and Anthropological Perspectives

Background and Aims: Traditional Chinese Yu Opera, a culturally significant art form, embodies unique singing techniques that offer rich insights into the social and cultural dimensions of China. This research aims to investigate the singing techniques of traditional Chinese Yu Opera from sociological and anthropological perspectives. Materials and Methods: The study utilized a mixed-methods approach, combining qualitative analysis, ethnographic observation, and expert interviews. Extensive literature reviews provided a theoretical foundation, while fieldwork included observing performances and conducting interviews with Yu Opera artists and cultural experts. This comprehensive methodological framework aimed to capture the nuances of singing techniques and their socio-cultural implications. Results: The research findings highlight that Yu Opera's singing techniques are not only artistic expressions but also potent cultural symbols that reflect and influence social structures and values. Detailed analyses of performances, particularly the opera "Mulan", revealed how these techniques convey cultural narratives and facilitate social interaction, aligning with sociological theories of cultural capital and anthropological views on cultural transmission. Conclusion: This study underscores the importance of Yu Opera's singing techniques as cultural texts that extend beyond mere performance, serving as vehicles for social cohesion and cultural continuity. The findings advocate for enhanced educational programs and interdisciplinary research to preserve and understand traditional arts like Yu Opera, ensuring their relevance in contemporary society.

Climatic Crescendo: Assessing the Impact of Climate Change on Opera Singers' Well-Being in South Africa

Climatic Crescendo: Assessing the Impact of Climate Change on Opera Singers' Well-Being in South Africa

An Interview with Jan Wiener.Conducted by Linda Carter on January 7, 2024.

Jan Wiener is a Society of Analytical Psychology (SAP) trained Jungian analyst and Journal of Analytical Psychology Board member, highly esteemed in Jungian and psychoanalytic circles for her work as a practitioner, teacher, supervisor and writer as well as for her well-honed leadership skills, notably as a member of the executive committee and as a vice-president of the International Association for Analytical Psychology (IAAP), the international organizing body for Jungian analysts worldwide. Jan has made remarkable contributions to the personal and professional development of Jungians not only in the UK but also for those involved in the IAAP Developing Groups programme where she has been a pioneer, providing cross-cultural outreach to those seeking training in Russia, Taiwan, Serbia, Ukraine and Denmark. Success in Jan's many-faceted and full life has been facilitated by a natural authenticity, good sense of humour, hearty laugh and a welcoming attitude; these attributes have significantly aided in bridge-building and opening space for creative interactions within and between individuals and groups. Her development was influenced by a history of parents who fled from Vienna and Berlin to London, escaping persecution by the pre-war Nazi regime. Jan's aunt lived in close proximity and was a child analyst who worked closely with Anna Freud. As a young woman, Jan swam the English Channel and she has always been a sports lover, especially tennis. Her many talents extend to music and she is a trained opera singer who has recently been involved in an affordable educational programme in Cratoule, France, that fosters the expanding growth of amateurs who have the opportunity to learn from more established, experienced attendees. Jan has performed as a singer in addition to presenting her analytic work globally. She has many publications that centre around clinical practice, her forte. Well-known by those who have been in relationship with Jan personally and professionally is her exceptional capacity for presence in the moment while holding the long-view; this capacity as well as an inclusive attitude, perhaps born in part from family history, along with a keen intelligence, intuition and native talent, have led to a life-long commitment to service and generative partnerships that continue to bear fruit amongst those touched by her kind and generous soul.

Sindrome mutacional de una voz operística

The spontaneous mutation of the voice in an opera singer is a very rare fact and worthy of publication. For the first time in the world, this mutational syndrome of a single voice that has been controlled for years and has been recorded over time has been described in all clinical, phoniatric, operatic and laryngological details. We are referring to an unusual case of an opera singer affected by a pituitary adenoma, undiagnosed, for many years, which led him to change his tessitura progressively, going from tenor to bass. This study analyzes the evolution of their laryngeal, stroboscopic, phoniatric and vocal parameters over the years and their persistence even after pituitary surgery.

A Study of the Effect of Sichuan Opera Singing on the Vocal Skills of Music Students

The purpose of the article is to explore the effects of Sichuan opera singing on music majors’ vocal skills, focusing on three key aspects: pitch test, assessment of rhythmic perception, and emotional expression. Through a quasi-experimental design, 100 music majors were selected as research subjects and divided into an experimental group that received Sichuan opera singing instruction and a control group that received traditional vocal instruction. The results showed that compared with the control group, the experimental group receiving Sichuan opera singing teaching showed significant improvement in pitch mastery, rhythm perception, and emotional expression.

The musical-creative and pedagogical activity of Solomiya Krushelnytska: contribution to the development of Ukrainian music education

This article examines the musical-creative and pedagogical activity of the prominent Ukrainian opera singer Solomiya Krushelnytska (1872-1952) and her contribution to developing Ukrainian music education in the first half of the 20th century. Utilising theoretical approaches to studying personality within the cultural-historical context, we explore Krushelnytska's life path as an example of combining artistic activity and pedagogical practice. The research analyses biographical materials, students' memoirs, and critical reviews of the singer's performances. The results show that Krushelnytska significantly contributed to popularising Ukrainian vocal art internationally and played an essential role in developing vocal pedagogy in Ukraine. Her pedagogical principles, grounded in her personal experience and methods of the Italian vocal school, promoted the formation of new generations of Ukrainian opera performers.