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Journal articles on the topic 'Operatic Singing'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

LO, WAI HAN. "The music culture of older adults in Cantonese operatic singing lessons." Ageing and Society 35, no. 8 (May 22, 2014): 1614–34. http://dx.doi.org/10.1017/s0144686x14000439.

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ABSTRACTCantonese operatic singing, one of the regional opera forms in China, flourishes mainly in the southern province of Guangdong. By exploring the culture of Cantonese operatic singing, this study relates older people's music participation to a sense of collectivism, thereby contributing to the maintenance of interpersonal relationships and promoting successful ageing. The study also illustrates how the musical participation of older adults can be influenced by the lifecourse and ageing in terms of both vocal abilities and levels of participation. Data analysed through participation observation in two Cantonese operatic singing lessons identify the rituals and core values of Cantonese operatic singing lessons. The findings help to explain how this particular music genre interacts with ageing.

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2

Birch, Peer, Bodil Gümoes, Hanne Stavad, Svend Prytz, Eva Björkner, and Johan Sundberg. "Velum Behavior in Professional Classic Operatic Singing." Journal of Voice 16, no. 1 (March 2002): 61–71. http://dx.doi.org/10.1016/s0892-1997(02)00073-5.

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3

Rosand, Ellen. "Operatic ambiguities and the power of music." Cambridge Opera Journal 4, no. 1 (March 1992): 75–80. http://dx.doi.org/10.1017/s0954586700003621.

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‘Pur sempre su le nozze canzoneggiando vai.’ Arnalta's remark to Poppea (L'incoronazione di Poppea, Act II scene 10), occasioned by Poppea's lyrical exultation over the death of Seneca, provokes the closing sententia of Edward T. Cone's recent exploration of the ambiguous world of opera and its inhabitants. Translating the nurse's comment as ‘You're forever going around singing songs about your wedding’, Cone concludes that ‘this is just what characters in opera do: they go around singing songs all the time’.

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4

Foulds-Elliott, S. D., C. W. Thorpe, S. J. Cala, and P. J. Davis. "Respiratory function in operatic singing: effects of emotional connection." Logopedics Phoniatrics Vocology 25, no. 4 (January 2000): 151–68. http://dx.doi.org/10.1080/140154300750067539.

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5

Larrouy-Maestri, Pauline, David Magis, and Dominique Morsomme. "The Evaluation of Vocal Pitch Accuracy." Music Perception 32, no. 1 (September 1, 2014): 1–10. http://dx.doi.org/10.1525/mp.2014.32.1.1.

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The objective analysis of Western operatic singing voices indicates that professional singers can be particularly “out of tune.” This study aims to better understand the evaluation of operatic voices, which have particularly complex acoustical signals. Twenty-two music experts were asked to evaluate the vocal pitch accuracy of 14 sung performances with a pairwise comparison paradigm, in a test and a retest. In addition to the objective measurement of pitch accuracy (pitch interval deviation), several performance parameters (average tempo, fundamental frequency of the starting note) and quality parameters (energy distribution, vibrato rate and extent) were observed and compared to the judges’ perceptual rating. The results show high intra and interjudge reliability when rating the pitch accuracy of operatic singing voices. Surprisingly, all the parameters were significantly related to the ratings and explain 78.8% of the variability of the judges’ rating. The pitch accuracy evaluation of operatic voices is thus not based exclusively on the precision of performed music intervals but on a complex combination of performance and quality parameters.

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6

Parr, Sean M. "Vocal Vulnerability: Tenors, Voix mixte and Late Nineteenth-Century French Opera." Cambridge Opera Journal 30, no. 2-3 (November 2018): 138–64. http://dx.doi.org/10.1017/s0954586719000041.

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AbstractIt is now a historical commonplace that nineteenth-century operatic singing became generally louder and heavier over the course of the century. Early in the century, before the advent of singers such as Gilbert-Louis Duprez, tenors sang high notes with a light, mixed voice, sometimes even falsetto. Strikingly, while such singing was virtually eliminated from Italian opera by the end of the century, the vocal practice continued in certain cases in the French repertory, some of which were created with one particular tenor in mind, Jean-Alexandre Talazac (1851–1896). Talazac was praised for his unique ability to sing high notes both softly and loudly. This article investigates the physical practice of producing what pedagogues and critics have called voix mixte, an enigmatic timbre applied to moments of soft, high tenor singing. In exploring these moments of what I call ‘léger mode’, I suggest that, by singing high notes softly in a post-Duprez operatic world, tenors transcend stage gestures through their use of a formerly normative performance style to mark moments musically as representations of vocal and masculine vulnerability. The historical evidence also argues for a renewed focus on what soft tenor singing might do for opera today.

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7

Novak, Jelena. "Singing beyond the TV Screen: Documentary, News and Interviews as Operatic Material." Dramaturgias, no. 10 (May 29, 2019): 91–109. http://dx.doi.org/10.26512/dramaturgias.v0i10.24905.

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John Adam’s opera Nixon in China (1987) opened the era of what some critics called ‘CNN operas’ — an operatic mixture of political issues and televisual representation. Since Nixon, various attempts to interrogate issues of world politics, power and realism on the (post)operatic stage took place: video documentary opera Three Tales (1998–2002) by Steve Reich and Beryl Korot, “The News” (2011) by Jacob ter Veldhuis (Jacob TV), five one-minute operas by Michel van der Aa (produced from 2010 to 2014, commissioned for the Dutch TV program Der Wereld Drait Door), Aliados (2013) by Sebastian Rivas, to mention only the few. This article attempts to give a partial overview of different operatic approaches to televisual expression and to illuminate ways of depicting documentary and news in recent opera focusing on the political figures.

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8

DUNCAN, MICHELLE. "The operatic scandal of the singing body: Voice, presence, performativity." Cambridge Opera Journal 16, no. 3 (November 2004): 283–306. http://dx.doi.org/10.1017/s0954586704001879.

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This essay addresses the materiality of voice in opera production, proposing a shift away from methodological models that posit voice as silent and disembodied towards one in which the body figures central. Comparing the voice in opera with the voice of the performative utterance, the article assesses the relevance of performativity to opera studies. A distinction between Derrida's critique of the ‘metaphysics of presence’ and the presence of performance leads to a discussion of the ‘force’ of the vocal utterance and its relationship to the real via Shoshana Felman's The Scandal of the Speaking Body. The central argument is that voice upsets the model of distanced reason upon which enlightened subjectivity depends.

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9

Francis, Kimberly, and Sofie Lachapelle. "The Medical and the Musical: French Physiology and Late Nineteenth-Century Operatic Training." Cambridge Opera Journal 28, no. 3 (November 2016): 347–62. http://dx.doi.org/10.1017/s0954586716000458.

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AbstractIn 1892, physician Achille Gouguenheim (1839–1901) was invited to teach a course on the physiology and hygiene of singing at the Paris Conservatoire. By that time, scientists had been interested in the mechanics of the ‘invisible’ singing voice for years, initially experimenting on human and animal cadavers using strings and weights to make dead larynges sing. By mid-century, with the development of better quality artificial lighting and mirrors, physicians and physiologists finally developed a better understanding of the relationship between voice and physiology. Meanwhile, by 1890, a growing number of connoisseurs and medical professionals alike were concerned that there was a crisis ruining French operatic singing. Gouguenheim and others argued that the key to improving the situation rested on embedding medical knowledge and its relationship to the proper functioning of the larynx and voice into pedagogy at the Conservatoire. Drawing upon archival documents, debates in leading periodicals and Gouguenheim’s published lecture notes, we examine the marriage between medical science and artistic pedagogy during the latter part of the nineteenth century. Overall, we argue that this evidence reveals a strand of French vocal training that merged the fields of science and artistry, if ever so briefly, creating pedagogical methods that for a few years offered the promise of rescuing French opera performance.

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10

Angelakis, E., A. Andreopoulou, and A. Georgaki. "Multisensory biofeedback: Promoting the recessive somatosensory control in operatic singing pedagogy." Biomedical Signal Processing and Control 66 (April 2021): 102400. http://dx.doi.org/10.1016/j.bspc.2020.102400.

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11

Erman, Uri. "The Operatic Voice of Leoni the Jew: Between the Synagogue and the Theater in Late Georgian Britain." Journal of British Studies 56, no. 2 (March 31, 2017): 295–321. http://dx.doi.org/10.1017/jbr.2017.3.

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AbstractMichael Leoni, a leading singer in late eighteenth-century London, became famous for his role in Richard Brinsley Sheridan's anti-Jewish operaThe Duenna. He was discovered, however, at the Jewish synagogue, where his singing enthralled non-Jews in the early 1770s. Tracing Leoni's public reception, this article argues that the performative effect of his singing had a multifaceted relation to his audience's psychology of prejudice, serving to both reiterate and reconfigure a variety of preconceptions regarding the Jews. Leoni's intervention through operatic singing was particularly significant––a powerful, bodily manifestation that was capable of transforming listeners while exhibiting the deep acculturation of the singer himself. The ambivalence triggered by his performances would go on to define the public reception of other Jewish singers, particularly that of Leoni's protégé, John Braham, Britain's leading tenor in the early nineteenth century. Ultimately, the experience of these Jews' performances could not be easily deconstructed, as the Jewish performers' voices were emanating from within written, sometimes canonical, musical works. This representational impasse gave rise to a public discourse intent on deciphering their Jewishness, raising questions of interpretation, intention, and confession.

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12

Titze, Ingo R., and Albert S. Worley. "Modeling source-filter interaction in belting and high-pitched operatic male singing." Journal of the Acoustical Society of America 126, no. 3 (September 2009): 1530–40. http://dx.doi.org/10.1121/1.3160296.

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13

Kochman, Katty, Pieter Coussement, Dirk Moelants, and Marc Leman. "Using Narrative Analysis to Map the Control Parameters of Enhanced Operatic Singing." Journal of New Music Research 41, no. 1 (March 2012): 121–36. http://dx.doi.org/10.1080/09298215.2011.647822.

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14

Howes, Patricia, Jean Callaghan, Pamela Davis, Dianna Kenny, and William Thorpe. "The relationship between measured vibrato characteristics and perception in Western operatic singing." Journal of Voice 18, no. 2 (June 2004): 216–30. http://dx.doi.org/10.1016/j.jvoice.2003.09.003.

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15

Oates, Jennifer M., Belinda Bain, Pamela Davis, Janice Chapman, and Dianna Kenny. "Development of an Auditory-Perceptual Rating Instrument for the Operatic Singing Voice." Journal of Voice 20, no. 1 (March 2006): 71–81. http://dx.doi.org/10.1016/j.jvoice.2005.01.006.

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16

Elblaus, Ludvig, Carl Unander-Scharin, and Åsa Unander-Scharin. "Singing Interaction: Embodied Instruments for Musical Expression in Opera." Leonardo Music Journal 24 (December 2014): 7–12. http://dx.doi.org/10.1162/lmj_a_00187.

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In the opera Sing the Body Electric! A Corporatorio, artists from the disciplines of opera, dance and the development of new musical instruments collaborated to create an onstage fusion of different technologies and artistic practices that connected performer, scenography and instrument. Gestures and movements of singers were captured by custom-built technologies. The singers also used custom-built technologies for transforming their vocal qualities and for creating synthesized accompaniment in real time. In this way the singers’ bodily musical processes further extended their vocal performances, rooted in operatic praxis, allowing for heightened expressivity and emergent scenic subjects.

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17

Larrouy-Maestri, Pauline, Dominique Morsomme, David Magis, and David Poeppel. "Lay Listeners Can Evaluate the Pitch Accuracy of Operatic Voices." Music Perception 34, no. 4 (April 1, 2017): 489–95. http://dx.doi.org/10.1525/mp.2017.34.4.489.

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Lay listeners are reliable judges when evaluating pitch accuracy of occasional singers, suggesting that enculturation and laypersons’ perceptual abilities are sufficient to judge “simple” music material adequately. However, the definition of pitch accuracy in operatic performances is much more complex than in melodies performed by occasional singers. Furthermore, because listening to operatic performances is not a common activity, laypersons‘ experience with this complicated acoustic signal is more limited. To address the question of music expertise in evaluating operatic singing voices, listeners without music training were compared with the music experts examined in a recent study (Larrouy-Maestri, Magis, & Morsomme, 2014a) and their ratings were modeled with regard to underlying acoustic variables of pitch accuracy. As expected, some participants lacked test-retest reliability in their judgments. However, listeners who used a consistent strategy relied on a definition of pitch accuracy that appears to overlap with the quantitative criteria used by music experts. Besides clarifying the role of music expertise in the evaluation of melodies, our findings show robust perceptual abilities in laypersons when listening to complex signals such as operatic performances.

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18

Henson, Karen. "Verdi versus Victor Maurel on Falstaff: Twelve New Verdi Letters and Other Operatic and Musical Theater Sources." 19th-Century Music 31, no. 2 (November 1, 2007): 113–30. http://dx.doi.org/10.1525/ncm.2007.31.2.113.

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This article introduces twelve new Verdi letters and other operatic and musical theater sources in the Yale Collection of Historical Sound Recordings. The materials hail from the French baritone Victor Maurel (1848-1923), Verdi's first Iago and first Falstaff, and from his second wife, the musical theater librettist and screenwriter Frederique Rosine de Gresac (1866/7-1943). The letters and other sources constitute an important resource for not only nineteenth-century opera and operatic performance but also the early American musical, film studies, the history of women, even the history of celebrity. The Verdi letters concern Maurel's creation of the role of Falstaff and include a intriguing debate about preparing for the role and singing generally.

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19

Schwartz, Arman. "Rough Music: Tosca and Verismo Reconsidered." 19th-Century Music 31, no. 3 (2008): 228–44. http://dx.doi.org/10.1525/ncm.2008.31.3.228.

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Abstract This article offers a new interpretation of the operatic phenomenon known as verismo, and of the relationship of Puccini's Tosca with that movement. In contrast to previous scholarship on verismo, which often treats the relationship between literature and music as transparent, I stress that marrying empiricist aesthetics to traditional operatic values was a highly unnatural process. I suggest that Italian opera in the 1890s was pushed to a sort of crisis point, and that the very act of singing could no longer be taken as self-evident. Composers developed a set of new techniques——offstage song, performer-characters, an extreme reliance on bells——to deal with this sudden untenability of operatic convention. All of these techniques were elaborated most fully in Tosca, and the opera might be read as an allegory of the verismo moment, embodying the conflict between hard-nosed realism and unapologetic singing in its two antagonists: Baron Scarpia and Floria Tosca. The plot clearly endorses Tosca's position, but a close reading of the opera's music suggests a rather different interpretation. By focusing on the role of bells in the opera, I argue that realistic sound often overwhelms the autonomy of the characters, at times seeming to collapse them into the scenery itself. Early critics were disturbed by this aspect of the music. Listening to the opera with their ears may help us realize that——despite its overt celebration of individual freedom, and its much-lauded critique of state-sanctioned violence——Tosca exhibits an antisubjective impulse that has much in common with other ““Fascist”” and ““proto-Fascist”” texts.

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20

BUTLER, MARGARET R. "PRODUCING THE OPERATIC CHORUS AT PARMA’S TEATRO DUCALE, 1759–1769." Eighteenth Century Music 3, no. 2 (September 2006): 231–51. http://dx.doi.org/10.1017/s1478570606000595.

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Italian opera is increasingly receiving well deserved attention. Yet the process by which the chorus in opera seria was created remains largely unexplored. Between 1759 and 1769 Tommaso Traetta and Christoph Gluck composed path-breaking, reform-inspired opere serie for Parma’s Teatro Ducale which integrated chorus, dance and stage spectacle in the French manner. In an era when operatic choruses usually comprised amateurs and chapel singers, evidence from printed librettos and documents from Parma’s Archivio di Stato reveal that many of the Teatro Ducale’s choristers were professional singers hired from neighbouring Bologna. Perhaps in response to logistical and financial difficulties in engaging skilled personnel for Traetta’s choruses, Parma established a singing school to provide choristers for theatre. Gluck’s choruses employed a combination of students from this school and professionals. The evidence from Parma shows that the wide-ranging circuit within which Italy’s opera theatres functioned embraced not only leading soloists and other personnel, but choral singers as well. It demonstrates the impact of practical circumstances surrounding the production of Parma’s operatic choruses on the success of operatic reform in Parma.

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21

Sundberg, Johan, Patricia Gramming, and Jeanette Lovetri. "Comparisons of pharynx, source, formant, and pressure characteristics in operatic and musical theatre singing." Journal of Voice 7, no. 4 (December 1993): 301–10. http://dx.doi.org/10.1016/s0892-1997(05)80118-3.

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22

Gvion, Liora. "Singing Your Way out of the Closet: Young Gay Men in the Operatic World." YOUNG 28, no. 4 (November 20, 2019): 387–403. http://dx.doi.org/10.1177/1103308819875643.

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Little has been written about the reasons gay men choose opera as a venue for professional achievement and social acceptance. Espousing an ethnographic approach, the current article sets out to question their motives. Applying Bourdieu’s concepts of field, cultural capital and habitus, I suggest looking at the opera as a cultural setting, which provides young gay men with a venue for coming out of the closet and, should they be talented and meticulous, achieving professional and social positions. In constituting a safe zone for expressing closeted emotions, engagement in operatic activities enables the development and application of gay capital, as well as cultural capital, such that gayness is interpreted as an invaluable resource, granting them professional and social acceptance.

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23

Miller, Donald G., and Harm K. Schutte. "Toward a Definition of Male ‘Head’ Register, Passaggio, and ‘Cover’ in Western Operatic Singing." Folia Phoniatrica et Logopaedica 46, no. 4 (1994): 157–70. http://dx.doi.org/10.1159/000266309.

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24

Ilić, Ivana, and Iva Nenić. "The anatomy of voice: Two views on the exhibition post-opera ('Tent' Gallery and 'V2_Lab for the Unstable Media', Rotterdam, April 19 - June 30 and May 3-26 2019)." New Sound, no. 56-2 (2020): 179–99. http://dx.doi.org/10.5937/newso2055179i.

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In this paper we discuss the exhibition Post-Opera, a complex and provocative curatorial project by Kris Dittel and Jelena Novak, in which the changeable relations between the voice and the (human) body are investigated from the creative and the theoretical perspectives, relying on juxtaposing and reflection between visual arts, technology and opera. Firstly, in the paper we examine the curatorial procedure, in its shift from the mediatory function between the work and the audience towards the practice, which intervenes in both of these domains and results in an exhibition as an autonomous art object. In the second part we interpret the politics and the effectiveness of the singing and the speaking voice in contemporary art and culture, while in the third part we write about the resemantization of the relation between the singing body and the sung voice within 'installing the operatic'.

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25

Sokolskaya, Anna. "“Obedient bodies”: Space, time and sound in the operas by Christoph Marthaler." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 34–49. http://dx.doi.org/10.18522/2415-8852-2020-1-34-49.

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The article discusses the relationships between musical performance, theatrical space and gesturality in Christoph Marthaler’s operatic productions. The stage design, the types of actor’s physical and vocal expressivity in “Le Nozze di Figaro”, “La Grande Duchesse de Gérolstein”, “Kát’a Kabanová”, “Věc Makropulos”, “Les Contes d’Hoffmann” and “Tristan und Isolde” are studied. Gesture, vocalisation and text in Marthaler’s productions are discussed and interpreted by considering the mismatching of dance and musical rhythm, the contrast of academical and non-academical singing manners or soundless articulation, as well as emphasizing the visual side of musical performance. Ensemble music-making and figurative gestures are the metaphors of power relations, total control and the collapse of social structures. It is concluded that the ways of vocalization and the types of gestures embody the system of power. The society in Marthaler’s operatic stage productions appears as an ensemble of the discursive practices.

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26

Stone, Robert E., Thomas F. Cleveland, and P. Johan Sundberg. "Acoustic and aerodynamic characteristics of Country‐Western, Operatic and Broadway singing styles compared to speech." Journal of the Acoustical Society of America 113, no. 4 (April 2003): 2242–43. http://dx.doi.org/10.1121/1.4780373.

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27

Larrouy-Maestri, Pauline, David Magis, and Dominique Morsomme. "Effects of Melody and Technique on Acoustical and Musical Features of Western Operatic Singing Voices." Journal of Voice 28, no. 3 (May 2014): 332–40. http://dx.doi.org/10.1016/j.jvoice.2013.10.019.

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28

Havlíčková Kysová, Šárka. "Singing in the blend: stagings of Verdi's operatic Shakespeare in the Czech Republic after 1989." Theatralia, Special Issue (2021): 189–208. http://dx.doi.org/10.5817/ty2021-s-14.

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29

Roesner, David. "Singing actors and dancing singers: Oscillations of genre, physical and vocal codes in two contemporary adaptations of Purcell's Dido and Aeneas." Studies in Musical Theatre 1, no. 2 (August 31, 2007): 123–37. http://dx.doi.org/10.1386/smt.1.2.123_1.

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This article looks at two recent and widely recognized productions of Henry Purcell's Dido and Aeneas (by choreographer Sasha Waltz, Berlin 2005, and theatre director Sebastian Nbling, Basel 2006) and discusses three main aspects: 1. Genre: coming from a Tanztheater (Waltz) and a Sprechtheater (Nbling) background, each director renegotiates conventions of the operatic genre and consciously evades expectations in pursuit of a new and challenging experience for both the performers and their audience. 2. Physicality: both productions place the performers' bodies at the forefront of the mise-en-scne they remap the singing, dancing, acting body by questioning conventions and expectations commonly found in the production and reception process. 3. Adaptation: both productions take unconventional liberties by adapting in a domain where notions of Werktreue (fidelity to the original work or score) still reign. Adopting ideas from Nicholas Cook and Mikhail Bakhtin, I will argue that the conceptual, musical and theatrical implications of both productions indicate a renegotiation of the social and performative relevance of operatic performance.

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30

Kamenets, A. V., and L. V. Molina. "The Enlightenment Philosophy Impact on the Musical Culture of Russia in the 18th–19th Centuries." Contemporary problems of social work 6, no. 3 (September 28, 2020): 30–37. http://dx.doi.org/10.17922/2412-5466-2020-6-3-30-37.

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this article discusses the key ideas of the philosophy of the Enlightenment (applying democratic attitudes, referring to real-life problems and issues, promoting humaneness and humanism) that have influenced the Russian musical culture. A connection is traced between the worldview of the West-European philosophers of the Enlightenment and the works of European composers and musicians that influenced the Russian musical culture in the 18th and 19th centuries. The article highlights how the philosophy of the Enlightenment affected the development of the operatic and singing art in Russia and how it in many ways dictated subsequent trends in the Russian music.

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31

Siegwart, Hervine, and Klaus R. Scherer. "Acoustic concomitants of emotional expression in operatic singing: The case of lucia in Ardi gli incensi." Journal of Voice 9, no. 3 (September 1995): 249–60. http://dx.doi.org/10.1016/s0892-1997(05)80232-2.

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32

Jahn, Anthony F. "Medical Management of the Professional Singer: An Overview." Medical Problems of Performing Artists 24, no. 1 (March 1, 2009): 3–9. http://dx.doi.org/10.21091/mppa.2009.1002.

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Caring for the professional singer, whether an operatic performer or serious amateur, involves careful consideration of both physical and emotional components, as it does in other performing artists. However, because the head and neck contain representatives of other major organ systems in close proximity to the phonating larynx, singing is additionally vulnerable to a range of diseases of the respiratory, gastrointestinal, and endocrine systems. This review provides an overview of the conditions typically encountered in singers. These include occupational disorders (muscle tension dysphonia, vocal nodules, vocal hemorrhage and polyps, chronic voice deterioration), general health issues with vocal implications (respiratory diseases, gastric reflux, endocrine problems, medication usage), as well as lifestyle considerations.

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33

SEMKIN, Dmitry, and Lyubov BUSHUEVA. "Giacomo Puccini's Operatic Legacy and Its Study in the Practice of Vocalists." WISDOM 15, no. 2 (August 23, 2020): 199–209. http://dx.doi.org/10.24234/wisdom.v15i2.355.

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The purpose of this article is to analyze the Opera legacy of Giacomo Puccini from the standpoint of philosophy and practical vocal pedagogy, which, according to the authors, is necessary for the formation of vocal and performing skills of young singers of the academic direction. The authors suggest a historical overview of the main works of the composer in this genre, based on the study of their vocal characteristics, the author reveals the features of his unique Arioso-recitative style. On the basis of various research methods (among which the special place is occupied by the philosophical, aesthetic, vocal-technical and methodological analysis) concluded, that vocal performance the point of view of the works G. Puccini are useful for the development of vocalists ' singing breath, musicality, imaginative thinking, mastering of the technique of cantilena, continuous legato (as the basis of belcanto), improving the timbral colors of the voice, its dynamic nuances, developing the right senses of agogics. The above is confirmed by the analysis of the peculiarities of the technique of performance and interpretation of one of the composer's most famous works for the tenor repertoire – Calaf's Aria "Nessun dorma" from the Opera "Turandot" (which was the main subject of this study).

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34

Leung, Bo-Wah. "Creativity in Cantonese operatic singing: Analysis of excerpts from Hu Bu Gui by three artists as examples." International Journal of Community Music 11, no. 3 (December 1, 2018): 265–87. http://dx.doi.org/10.1386/ijcm.11.3.265_1.

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35

Manfredi, Claudia, Davide Barbagallo, Giovanna Baracca, Silvia Orlandi, Andrea Bandini, and Philippe H. Dejonckere. "Automatic Assessment of Acoustic Parameters of the Singing Voice: Application to Professional Western Operatic and Jazz Singers." Journal of Voice 29, no. 4 (July 2015): 517.e1–517.e9. http://dx.doi.org/10.1016/j.jvoice.2014.09.014.

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36

Wangpaiboonkit, Parkorn. "Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy." Cambridge Opera Journal 32, no. 1 (March 2020): 1–26. http://dx.doi.org/10.1017/s0954586720000099.

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AbstractThis article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women's feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi's criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self-definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d'Irminsul, La donna del lago and Norma demonstrate how singers established the components of masculine-heroic conventions through sensitive consideration of dramaturgy. I stress that the singing voice before 1830 was under-assimilated as an index of gender, and that rethinking the history of the ‘rise of the tenor’ may be crucial to understanding the history of the vocalic body.

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Henrich Bernardoni, Nathalie, John Smith, and Joe Wolfe. "Vocal tract resonances in singing: Variation with laryngeal mechanism for male operatic singers in chest and falsetto registers." Journal of the Acoustical Society of America 135, no. 1 (January 2014): 491–501. http://dx.doi.org/10.1121/1.4836255.

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Zieziula, Grzegorz. "Beyond the Dogma of a ‘National Style’: Dance-Type Narration in Stanislaw Moniuszko’s Operas." Musicology Today 15, no. 1 (December 1, 2018): 41–61. http://dx.doi.org/10.2478/muso-2018-0006.

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Abstract A privileged position in discourse on 19th-century opera is occupied by narration concerning the emancipation of national styles. In order to work out a fresh approach in scientific study of this subject, it seems crucial that we should abandon the ethnocentric perspective. This was one of the main postulates of Jean-Marie Pradier’s utopian project of ethnoscenology. Importantly, Pradier also stressed the physical aspect of all stage practice. In the times of Rossini, Verdi, Gounod and Moniuszko, the physicality of the spectacle was associated not only with singing, but also with choreography. The links between 19th-century opera and its broadly conceived dance component are the subject of a highly inspiring essay by Maribeth Clark, whose arguments, theses and conclusions we also present here in detail. Stanisław Moniuszko’s operatic style is commonly associated with Polish dance rhythms. Still, salon dance should also be considered, apart from national dances, as one of the keys to the composer’s entire oeuvre. In a study of his stage works from both the Vilnius and the Warsaw periods, the dance idiom will not be limited to the presence of dance rhythms in the protagonists’ arias or to the ballet sections. Dance qualities can be discerned in Moniuszko’s music on a much deeper, fundamental level of the construction of operatic narration. Dance is frequently a hidden mechanism that serves as an axis of development for the presented events or as an element that organises the dramaturgy of entire scenes and instrumental passages. This paper is an attempt to take a fresh look at the role of the dance idiom in Moniuszko’s operatic narrations, an initial reconnaissance, in which I point to the sources of the composer’s inspirations and illustrate my theses with specific examples.

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Baldwin, Olive, and Thelma Wilson. "The Harmonious Unfortunate: new light on Catherine Tofts." Cambridge Opera Journal 22, no. 2 (July 2010): 217–34. http://dx.doi.org/10.1017/s0954586711000140.

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AbstractCatherine Tofts, ‘the first English prima donna’, was the female lead in the all-sung operas in the Italian style performed on the London stage from1705, but little has previously been known about her early life or musical training. This article draws on various sources, including her father's will, a petition she wrote in 1704 and Delarivier Manley's Memoirs of Europe to show that her family background was Scottish and that she grew up in the household of Bishop Gilbert Burnet. It names possible singing teachers and lovers, and shows that she did not leave the stage in 1709 because of mental instability, as has been assumed, but because of debt and the consequent need to escape from her creditors. The end of her career shows the difficulties faced by a leading English singer when Italians, particularly the castrati, came to dominate the operatic scene in London.

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Hadlock, Heather. "Return of the repressed: The prima donna from Hoffmann's Tales to Offenbach's Contes." Cambridge Opera Journal 6, no. 3 (November 1994): 221–43. http://dx.doi.org/10.1017/s0954586700004316.

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The operatic diva, a singer of strange songs, and too often a turbulent, unkind girl, haunted the nineteenth-century imagination, as evidenced by the musical tales of E. T. A. Hoffmann and numerous retellings of those tales in theatre, ballet and opera. Each adaptation of Hoffmann's ‘Rat Krespel’, ‘Der Sandmann’ and ‘Don Juan’ reflects an ambivalent attitude towards women performers, whose potent voices make them simultaneously desirable and fearsome. How do these stories about female singers contrive to contain and manage the singing woman’s authority? And how does the prima donna's voice repeatedly make itself heard, eluding and overcoming narrative attempts to shape or contain its turbulent noise?Let me begin with an excerpt from ‘Rat Krespel’ (1818), which might serve as a parable for relationships between female singers and male music lovers in the Romantic imagination. Krespel, a young German musician, travelled in Italy and was fortunate enough to win the heart of a celebrated diva, Angela, whose name seemed only appropriate to her heavenly voice. Unfortunately, her personality was less than heavenly, and when she was not actually singing he found her violent whims and demands for attention very trying. One day, as he stood playing his violin:[Angela] embraced her husband, overwhelmed him with sweet and languishing glances, and rested her pretty head on his shoulder. But Krespel, carried away into the world of music, continued to play on until the walls echoed again; thus he chanced to touch the Signora somewhat ungently with his arm and the fiddle bow.

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Guzman, Marco, Vrushali Angadi, Daniel Croake, Christopher Catalan, Constanza Romero, Gabriela Acuña, Camilo Quezada, Richard Andreatta, and Joseph Stemple. "Does a Systematic Vocal Exercise Program Enhance the Physiologic Range of Voice Production in Classical Singing Graduate-Level Students?" Journal of Speech, Language, and Hearing Research 63, no. 4 (April 27, 2020): 1044–52. http://dx.doi.org/10.1044/2020_jslhr-19-00362.

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Purpose The purpose of this study was to assess the effects of vocal function exercises (VFEs) on the physiologic range of the operatic voice. The primary outcome measure was total voice range profile (VRP) area. Method Forty graduate-level opera majors were randomly assigned to experimental (training with VFE + vocal hygiene) and control (vocal hygiene only) groups. All participants underwent an acoustic voice assessment (modified VRP) pre and post 10 weeks of the assigned intervention. VRP total area was calculated and compared between and within the two groups. The total VRP area was subsequently divided into three area thirds (low, medium, and high). Results A significant improvement (increase) was observed in the VFE group for the primary outcome measure of VRP area when pre- and postvoice conditions were compared for total area, upper third, and middle third. No significant improvement was found in the vocal hygiene–only group. Conclusion Vocal training with VFEs over a 10-week period demonstrated positive effects on physiologic voice range as evidenced by an increase in the total VRP area and therefore may enhance the potential of those who already have professional voice training.

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Drury, Abdullah. "The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon." Islam and Christian–Muslim Relations 28, no. 4 (June 22, 2017): 519–20. http://dx.doi.org/10.1080/09596410.2017.1340035.

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Zicari, Massimo. "Expressive Tempo Modifications in Adelina Patti's Recordings: An Integrated Approach." Empirical Musicology Review 12, no. 1-2 (September 26, 2017): 42. http://dx.doi.org/10.18061/emr.v12i1-2.5010.

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This paper explores the extent of expressive tempo modifications as a function of textual content in four operatic arias recorded by Adelina Patti between 1905 and 1906. Their analysis made it possible to determine to what extent significant tempo modifications coincide with those moments in the music, in which special emphasis is demanded by the lyrics. A twofold approach was adopted: the paradigms of historical musicology provided the conceptual tools necessary to define the context, reconstruct the vocal practice, and understand the relationship between the lyrics and the compositional solutions underpinning them; the degree of tempo variability for each aria was determined by empirically measuring the crotchet beat lengths and by calculating the value of mean, mode, standard deviation and coefficient of variation. Results show that Patti's renditions of the four arias present tempo modifications which are instrumental to the expression of their dramatic content, as recommended by the singing methods and treatises which appeared in the course of the nineteenth century. Most crucially, they challenge the assumption that interpreters trained in the late romantic culture abused the composer's intentions and indulged in tasteless, exaggerated interpretive choices.

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Berry, Mark. "Larry Wolff, The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon." European History Quarterly 47, no. 4 (September 25, 2017): 805–6. http://dx.doi.org/10.1177/0265691417729639bc.

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Weber, William. "Larry Wolff. The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon." American Historical Review 122, no. 4 (October 1, 2017): 1301–2. http://dx.doi.org/10.1093/ahr/122.4.1301.

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MEYER, STEPHEN C. "Sound recording and the end of the Italian Lohengrin." Cambridge Opera Journal 20, no. 1 (March 2008): 1–24. http://dx.doi.org/10.1017/s0954586708002383.

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ABSTRACTThis article compares early and mid twentieth-century Italian-language recordings of Lohengrin excerpts with German-language recordings of the same period. The production and distribution of Italian-language recordings in the United States is an extension of nineteenth-century practices, in which ‘national styles’ of singing were detachable from specific repertoires. Preserving characteristic vocal inflections and distinctive interpretations, these recordings give insight into the intersections and conflicts between the various national performing traditions that were so important to nineteenth-century operatic life. The interpretative diversity of these recordings is an index of the extent to which performance traditions and individual character were markers of cultural (and economic) value in the first decades of the twentieth century. Focusing on Elsa’s Dream and the Grail Narration, I show how this interpretative diversity declined dramatically during the course of the twentieth century. This decline was precipitated by a number of factors, including the introduction of the LP disc in 1948. But the decline of the Italian Lohengrin also attests to a paradigm shift essential to the reception of classical music in the United States: from the idea that the recording is a reproduction of a voice to one in which it functions primarily as a realization of the composer’s score.

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VINSON, DUNCAN. "Liberal Religion, Artistic Autonomy, and the Culture of Secular Choral Societies." Journal of the Society for American Music 4, no. 3 (July 15, 2010): 339–67. http://dx.doi.org/10.1017/s1752196310000179.

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AbstractU.S. choral societies typically formalize themselves as secular organizations analogous to symphony orchestras and opera companies. Yet choral societies differ from symphonic or operatic organizations because almost all choruses depend on volunteer singers. Part of what attracts singers into choruses is a sometimes unacknowledged affinity between the religious traditions of liberal Christians and Jews and the culture of choral singing as practiced in formally secular choral societies. The liberal tradition in religion encourages a habitus toward music that might be called a “sense of liturgy”: The interpretation of musical works historically and collectively, rather than as didactic works addressed to an individual. Although many canonical choral works are Christian in content, liberal religion encourages distancing mechanisms that allow people from other faith traditions, or none at all, to engage with these works. In short, the posture of artistic autonomy often found within formally secular choral societies, in which there is no overt religious test for membership, owes part of its genesis to the religious habits of liberal Christians and Jews. The present article explores this affinity by drawing on ethnomusicological fieldwork among choral singers in New England, as well as published accounts of a 1996 controversy over the performance of religious music by a public school choir in Utah.

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TURNER, KRISTEN M. "“A Joyous Star-Spangled-Bannerism”: Emma Juch, Opera in English Translation, and the American Cultural Landscape in the Gilded Age." Journal of the Society for American Music 8, no. 2 (May 2014): 219–52. http://dx.doi.org/10.1017/s175219631400008x.

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AbstractSoprano Emma Juch (1860–1939), famous in the 1880s and 1890s, combined singing in concerts and festivals with a short English-language operatic career. Because Juch exemplifies a typical prima donna of the late nineteenth century, her life provides a perspective on the American cultural landscape that a focus on star performers cannot capture. Like all female singers, she had to negotiate between competing stereotypes about divas and the nineteenth-century distrust of women who led public lives. In response to these pressures, she constructed an image of a vigorous American singer who nevertheless understood her expected role in society. During the Gilded Age, opera's place in American culture was changing. Foreign-language opera became increasingly associated with wealth, the highest performance quality, and sometimes even cultural and moral uplift, whereas English-language opera suggested popular entertainment for the middle class and mediocre performance standards. The American Opera Company and Juch's own Emma Juch English Grand Opera Company attempted to fight against these assumptions and center opera in English performed by native singers as an important component of a distinctly American musical tradition. She was unsuccessful, however, and Juch's career, which began with great promise, lost momentum after her opera troupe folded and she slid into obscurity.

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Hathaway, Jane. "The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon by Larry WolffLarry Wolff, The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon. Stanford: Stanford University Press, 2016. xii, 490 pp. $29.95 US (cloth)." Canadian Journal of History 53, no. 1 (April 2018): 165–66. http://dx.doi.org/10.3138/cjh.ach.53.1.rev35.

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Peritz, Jessica Gabriel. "The Female Sublime: Domesticating Luigia Todi’s Voice." Journal of the American Musicological Society 74, no. 2 (2021): 235–88. http://dx.doi.org/10.1525/jams.2021.74.2.235.

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Abstract This article delves into the puzzling reception of opera singer Luigia Todi (1753–1833) in order to explore how the traces left by pre-phonographic voices contain long-forgotten cultural histories. Operagoers in 1790s Venice claimed that Todi’s moral qualities allowed her to overcome her “vocal defects,” and, in turn, taught her listeners to become good citizens. Hearing vocal difficulties as a manifestation of interiority, rather than as poor training, marked a significant departure from what were then the predominant aesthetics of operatic voice. In attempting to smooth over this gap, listeners pieced together narratives about Todi’s subjectivity based on the unstable, fragmented sounds of her voice. This article argues that such remediations of Todi’s singing were subtended by two seemingly irreconcilable ontologies of female voice, one of them rooted in ancient myths of sublime song and the other born of Enlightenment ideologies of domesticity. I thus read inscriptions of Todi’s voice through a network of late eighteenth-century Italian cultural anxieties, drawing on literary reimaginings of Sappho, debates over the nature of musical skill, discourses on women’s education, and more. By interrogating the narratives about one woman’s unusual voice, I offer a new origin story for still resonant assumptions about the relationships between gender and disability, politics and domestic labor, and, fundamentally, bodies and voices.

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