Made available in DSpace on 2016-04-27T18:11:58Z (GMT). No. of bitstreams: 1 Enio Lopes Mello.pdf: 2559037 bytes, checksum: b6e5f1087adf57342b41295b4091a8cb (MD5) Previous issue date: 2012-12-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Opera singing is an activity which requires refinement of motor coordination, in order to gain posture control during the vocal emission, and body awareness to ensure harmonization of gestures with the self-image. Often, the difficulty in promoting adjustments in posture can compromise quality and voice control. That occurs due to the close relationship between the larynx intrinsic and extrinsic musculatures, the cervical vertebrae, as well as the whole body, during singing. Objective: assess the sopranos' posture and voice, during tne singing of an opera aria; and discuss the relationship between postural and vocal signs and self-image. in opera singers. Method: this thesis is composed of two different studies. The first study is a transversal evaluation of posture and voice in 18 sÔpranos, during the rendering of an opera aria, through, respectively, computerized photogrammetry and acoustic analysis. The second study is a semiological reflection on the analysis of the posture signs, in relation to opera singers' body and vocal self-image. Results: in study 1 significant correlations (alpha 0,05) became evident, between postural changes of lower limbs, hips, torso and head, and voice, during the emission of notes F4, A4 and in the repetition of A4. According to the factorial analysis the position of the hS,ad configured an influent factor, to the vocal changes. In study 2, the semiology of the opera singer's body posture, voice and self-image resulted in a discussion, which was organized in three topics: 1- Singularity and perception; 2- Image and expression, constituted by the movement and 3- Posture, voice and self¬image. Final considerations: the first study revealed that the sopranos did hyperextension of lower limbs, hip anteversion, backwards inclination 'of torso and headextension in the lateral plane. Simultaneously, there was a decrease in the singers' formants values and increase in the intensity of the voice. The second study displayed the idea that the opera singer alters the perception of herself, at each new rendering. That can create new signs to the gestures and modify the self-image / O canto lírico é uma atividade que requer refinamento da coordenação motora, para obter controle da postura durante a emissão vocal, e consciência corporal para garantir harmonização dos gestos com a autoimagem. Muitas vezes, a dificuldade em promover ajustes na postura pode comprometer a qualidade e o controle da voz. Isto ocorre devido à estreita relação que existe entre a musculatura intrínseca e extrínseca da laringe, com as vértebras cervicais, bem como com o corpo todo, durante o canto. Objetivo: avaliar a postura e a voz de¬ sopranos, durante a execução de uma ária de ópera; e discutir as relações dos signos posturais e vocais com a autoimagem em cantores líricos. Método: a tese é composta por dois estudos distintos. O primeiro estudo é uma avaliação transversal da postura e da voz em 18 sopranos, durante a interpretação de uma ária de ópera, por meio, respectivamente, da fotogrametria computadorizada e da análise acústica. O segundo estudo é uma reflexão semiológica voltada para análise dos signos da postura, em' relação à autoimagem corporal e vocal de cantores líricos. Resultados: no estudo 1 evidenciou-se correlações significantes (alfa :5 0,05), entre as mudanças posturais dos membros inferiores, bacia, tronco e cabeça, e a voz, durqnte a emissão das notas Fa4, La4 e na repetição de La4. Segundo a análise atorial a posição da cabeça configurou um fator influente, para as mudanças vocais. No estudo 2, a semiologia da postura corporal, da voz e da autoimagem do cantor lírico resultaram em uma discussão, que foi organizada em três tópicos: 1- Singularidade e percepção; 2- Imagem e expressão, constituídos pelo movimento e 3- Postura, voz e autoimagem. Considerações finais: o primeiro estudo revelou que as sopranos fizeram hiperextensão dos membros inferiores, anteversão da bacia, inclinação do tronco para trás e extensão da 'cabeça no plano lateral. Concomitante, houve diminuição nos valores dos formantes do cantor e aumento na intensidade da voz. O segundo estudo expôs a ideia de que o cantor lírico altera a percepção de si mesmo, a cada nova interpretação. Isso pode criar novos signos para os gestos, e modificar a autoimagem

Mad scenes, mental illness and their consequences are frequently portrayed in opera. In my opinion, every time mental illness is embodied in any media, there is an associated responsibility to do research and to one’s best ability try to understand what mental illness does to those afflicted. To widen our minds to all the peculiarities of the human condition. To understand that our embodiment affects the receivers –our audiences- and is ultimately a contribution to the collective understanding of mental illness in society. If I was going to use a mad scene as my material for research, I wanted to handle it in the most emphatic and nuanced way possible. I wanted to understand what my role figure Elvira (from the opera “I puritani” by Bellini) was going through and how to give her story credibility and respect. The vehicle I chose was dance and choreography.

My Magister Degree project and is based on a desire of achieving a deep understanding, and consequently gaining an artistic freedom in my portraying, of an operatic role that seems "made for me", and yet feels unavailable due to the nature of the Russian culture and language. Tatiana, in the opera “Eugene Onegin” by Piotr Tchaikovsky, is a great role for a young soprano voice, that is becoming full lyric. These were barriers that I decided to turn into knowledge and tools, to gain freedom and an ability to decide for myself how I wanted to portray Tatiana.

Develop a character, delve into the skin, into the psyche, what the character looks like,how they speak, how they react, what their worries and fears are, what their joys, their goals and their greatest desires are; is not easy. It takes time to think, to observe, to read, to search, to wait. For a singer the search is twofold. We must look for the dramatic but also musical character, as expressed in music in style and vocal technique.In our professional life, time passes in different ways, preparation times are often very short, not to mention substitutions, where many times you have to jump into a production that is already in progress, without time to think, just to do. It was a desire I had for a long time to rediscover my own process, to dedicate time to scrutinize details where I had not been able to before. To observe my path as a student again and have the time to savor learning new things.Violetta seemed like the biggest challenge of my career and I definitely wanted to go to another level. Violetta, a door, a key to develop my strengths as an art and stage professional. The most difficult thing I could find, the strongest challenge that a soprano can face... I put it at the centre of my time and my research.

Even before I started studying at the SKH Opera, I was already contemplating what would happen afterwards. So it all started with the idea that I'd like to apply to an Opera Studio after graduation. I realised that the largest market for opera studies is in German-speaking countries, where I could continue to develop my talent and simultaneously earn money working in my profession. For example, in the Opera Studio, an Opera provides a monthly salary. So when I applied to the university, I had to submit the so-called document "Independent project". I didn't write much, so I'd like to quote it here: “The idea for my project consists of organising and performing a few concerts of German classical music in Scandinavia. In order to best prepare for that event, I would first like to build my vocal technique at a high level. This is my main goal. In the next coming year I would like to work on German musical literature but one of the biggest dreams is to prepare a role of Papageno from The Magic Flute.”As you can see, the goal was focused on potential future work and earnings. I was mostinterested in improving my vocal technique and working on the German repertoire. Even though German was never my favorite language and I avoided it as much as I could, I decided that during this year, I'd focus on the German repertoire while also honing my technique. It's worth mentioning - I usually and almost always sang in Slavic or Latin languages, and my favourite language in the opera world is Italian. But why the role of Papageno and the opera “The Magic Flute”? While browsing through the opera repertoire currently in production in the German language, I noticed that “The Magic Flute” was one of the most frequently performed, so I thought it could be a fascinating adventure. While perusing the opera score, I found a character for myself: Papageno5, a role not too low, not too high in the vocal tessitura, a role for a baritone voice. Even though I usually sang bass-baritone roles, I decided to take up the challenge of preparing the baritone part.