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These are the elements of singing in an operatic style, for singers who aren’t classically trained. If you are, you already know this, and it probably comes very naturally to you!
If you’re not a classically trained singer but want to sing an aria for fun or just explore this style, these are the main elements of operatic style that differ from contemporary singing.
First, and this is specific to higher voices (sopranos, mezzos and altos): you’re almost always using head voice & mix. Pure chest voice or speaking voice is pretty rare and reserved for very low pitches. For example, an Eb4 [play] is low enough that most singers would default to chest voice for this without thinking. But with a more operatic style, you’ll probably mix this. It’s worth mentioning that even if you’re an alto, you won’t be singing arias in a range as low as contemporary altos. Once the melody goes down to middle C or lower, chest voice is usually acceptable!
Get used to singing low in head with slides on an OO or EE. I like descending one half-step at a time. Try this with me, and see if you can stay in head voice or mix without “dropping” into your speaking voice.
Another element of operatic singing is free vibrato. Whereas vibrato in contemporary music is more of an effect at the end of sustained notes or phrases, vibrato is a crucial element of classical technique. Listen to the difference, and tell me which sounds more operatic to you. Operatic singing also tends to use a lifted soft palate. Listen to that same example, first with a lifted palate and now with a lowered palate.
The soft palate, if you’re not familiar, is at the back of the roof of your mouth, the roof of your mouth being your hard palate, and just behind that being your soft palate. The uvula, or that little dangly thing, hangs down from your soft palate. You can experiment with a lifted palate by making a K sound while inhaling instead of exhaling. Then try to maintain that lifted space and sigh. Listen to the tone quality that results, and you have a good idea of what a lifted palate does for your tone. It’s generally more spacious, rounder, and less bright or nasal.
Speaking of tone quality, operatic singing often employs a lower larynx than contemporary styles. Your larynx - or Adam’s apple - houses your vocal folds, and singing with a lower larynx elongates the space in which your sound wave can vibrate. A bigger container results in a darker tone quality. Your larynx is very low when you yawn! See if you can almost make yourself yawn, and make some noise at the same time. Slightly “dopey” sounds can help you get used to singing with a lower larynx.
Finally, operatic style requires lots of long, legato phrases. Legato means smooth and connected. Contemporary singing tends to be much more conversational. Phrases might be broken up and you have more flexibility around where to breathe. With an aria, the melodic line is very important and not to be broken. Longer exercise patterns that challenge your breath capacity and control are a great idea to train for this! I also recommend singing the melody on a vowel rather than lyrics to connect to each legato phrase.
0:00 - Intro
0:43 - Head & Mix
3:24 - Free Vibrato
4:29 - Palate
5:38 - Lower Larynx
6:37 - Long Phrases
7:36 - Outro
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