English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Zendy Plus

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Zendy Tools

Zendy Open

The idea that classical singers should join the notes of the vocal line by maintaining a consistent vocal colour is a relatively recent historical construct. In the last decades of the nineteenth century, singers in the Italian tradition were loyal to a very different vocal aesthetic, which valued the distinct differences in timbre between different vocal registers, as this article shows through a comparative analysis of pedagogical writing and pre-1925 recordings. The latter reveal that, in the early twentieth century, old and new techniques for uniting the vocal registers coexisted, and reflected an aesthetic transition towards a more gendered quality of the operatic voice. This process was intertwined with profound transformations in Italian operatic culture. The demands of a new realistic idiom known as  verismo  required a new type of vocalism, which prompted singers to re-conceive the ‘art of vocal registration’.

The Changing Aesthetics of Vocal Registration in the Age of ‘Verismo’