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IF THERE’S NO “FAT LADY,” WHEN IS THE OPERA OVER? AN EXPLORATION
OF CHANGING PHYSICAL IMAGE STANDARDS IN PRESENT-DAY OPERA
A Thesis
Presented to
the Faculty of Arts and Humanities
University of Denver
In Partial Fulfillment
of the Requirements for the Degree
Master of Arts
by
Emily L. Stephenson
August 2012
Advisor: Sarah Morelli, PhD
© Copyright by Emily L Stephenson 2012
All Rights Reserved
ii
Author: Emily L Stephenson
Title: If there’s no “fat lady,” when is the opera over? An examination of changing
physical image standards in present-day opera
Advisor: Sarah Morelli, Phd
Degree Date: August 2012
Abstract
Though present-day American society generally assumes opera is one of the few
remaining entertainment fields where talent matters more than physical appearance, as
the 2004 firing of Deborah Voigt demonstrates, present-day opera singers are
increasingly being held to stricter image standards. In 2004, Covent Garden dismissed
Voigt from their production of Ariadne auf Naxos, in which Voigt was supposed to
reprise her critically acclaimed interpretation of the title role. According to Voigt,
Covent Garden’s casting director Peter Katona felt that she was too large to fit into the
black dress the new production required of the character.
1
Voigt’s removal from the
production and consequent media attention made opera’s new image standards public.
My ethnographic and archival research concludes that present-day opera singers are
expected to fit much more stringent physical standards. Though popular publications like
Classical Singer, Time, and Newsweek have published articles exploring the new
standards, little published academic work has explored this topic. As both a singer and
an ethnomusicologist, I have spent several years observing and interviewing singers at
various stages. This thesis explores evidence supporting the focus on image within opera
and examines how this emphasis impacts various facets of the opera community.
1
Catharine Milner, “Royal Opera Sacks Diva Who Was 'too Fat For Dress',” Telegraph (London), March 7,
2004. http://www.telegraph.co.uk/news/uknews/1456228/Royal-Opera-sacks-diva-who-was-too-fat-for-
dress.html (accessed February 2, 2011).
iii
Table of Contents
Chapter One: Introduction 1
Fieldwork, Methodology, and an Introduction to the Opera Community 3
Existing Scholarship 6
Trends in the Western Entertainment Industry that
Contribute to Opera’s Image Focus 12
Conclusion 25
Chapter Two: Evidence of Image’s Importance in Present-Day Opera 26
Chapter Three: How Singers are Reacting 51
Chapter Four: Impacts on Singers and Opera Community 69
Chapter Five: Conclusions, Areas for Future Research, Related
Ethnomusicological Work, and Reflections on Fieldwork 88
Conclusions 88
Areas for Future Research 90
Related Ethnomusicological Work 93
Reflections on Fieldwork 95
References 102
Appendix A 107
Appendix B 109
Appendix C 112
1
CHAPTER 1: INTRODUCTION
One of the most common classical music stereotypes is that of the “fat opera
singer.” As of this writing, typing “opera singer” into a Google image search pulls up
approximately 41,900,000 images.
2
Many of these show pictures and cartoons of
overweight men and women singing. This stereotype relates to many factors within
opera and the larger society in which opera has existed, including but not limited to the
belief that larger physical size leads to larger vocal size and the relationship between
physical size and wealth. Within present-day, image-conscious Western society, this
stereotype relates to an assumption held by some that for opera singers their physical
image is less important than their vocal talent. However, my field research among opera
students, performers, and opera professionals based in and around the city of Denver, as
well as other singers from around the United States, suggest that opera is image-
conscious and perhaps increasingly so.
3
This field research reveals that opera singers
dress themselves, discuss, and maintain their physical appearance in specific ways.
Casting directors and competition judges look for specific physical attributes in singers in
addition to their vocal talent. Further, opera audiences express a good deal of interest in a
singer’s physical appearance.
2
Google Image Search performed by Author, April 21, 2012.
3
Throughout this thesis, the term “opera professionals” will refer to non-singer members
of the opera community, such as directors, producers, casting professionals, agents,
managers and coaches.
2
I explored issues of physical image in present-day opera over the course of
approximately two years of fieldwork. My research concludes that for present-day opera
singers how they look is as important as how they sing. Evidence of this trend exists
throughout the opera community. Most singers now have anecdotal or personal
experience demonstrating the importance of their physical appearance. Though
producers and casting directors have tended to downplay the role of a singer’s image in
casting or not admit its importance at all, they are becoming more vocal about image
playing a role in how productions are cast.
4
My examination of current casting practices
also suggests that image is an integral element, as is marketing and publicity for
individual singers, individual productions, and opera companies. There is also increasing
written material on the role of image in opera, authored by those writing and responding
to articles in popular publications as well as Internet forums.
In this first chapter, I will briefly discuss my methodology and fieldwork,
examine related existing scholarship, and explore trends within Western popular
entertainment that contribute to this trend. In my second chapter I will present evidence
from within the opera community that demonstrates image’s importance and discuss
where singers encounter pressure to maintain and/or modify their image. In my third
chapter, I will explore how singers are reacting to this trend. In my fourth chapter I will
examine the impact of this trend on singers and the opera community. In my final
chapter, I will draw conclusions, analyze my research, and present areas for further study.
4
Steven Blier, “The Fit Lady Sings,” Opera News 66: no. 1 (July 2001): 14.
3
Fieldwork, Methodology, and an Introduction to the Opera Community
My primary fieldwork consisted of formal interviews with singers, informal
conversations with a combination of singers, opera professionals, and audience members,
as well as observations of classes, rehearsals, and performances. I supplemented this
fieldwork with review of published material on the subject, as well as online discussions
of the issue by the opera community and audiences. The fieldwork was performed
predominantly in the Denver, Colorado area, though I interviewed and was in contact
with singers from around the country. My work focused on singers who currently or in
the past aspired to work primarily in opera.
5
However, several singers I interviewed
expressed a desire to also do musical theater work and most singers expected to use their
voice in other mediums throughout their career.
It is important to note that during my fieldwork I was also pursuing a Masters of
Music in Vocal Performance and was participating in opera performances at the academic
and regional level. Because of this insider status, I had different access to the community
than a non-singer would. In my concluding chapter, as part of my analysis of my
fieldwork I will discuss this factor of my work as it relates to other ethnomusicological
scholarship. As I will also discuss in the concluding chapter, my insider status was both a
benefit and a hindrance. Generally, I found singers more willing to discuss the topic of
image in opera outside of a formal interview setting, and consequently fewer formal
interviews were performed than I had originally intended. In these informal
5
One can be a singer in a variety of different fields, including but not limited to opera,
musical theater, concert work, chamber music, and teaching.
4
conversations, those involved were generally aware of my area of research, and many
took place while I and other singers were taking breaks at rehearsals or performances.
Throughout the work, I refer to all singers I spoke with anonymously; however it
is necessary to reveal some potentially identifying demographic information, such as
gender, voice type, age range, and current career level, is necessary in order to discuss the
topic fully. I assigned numbers to singers who were formally interviewed, and their
complete fach, demographic, and educational information can be found in Appendix A.
Fachs are a system of categorizing voice part based on range and vocal quality. The five
general fachs, from highest to lowest, are soprano, mezzo-soprano, tenor, baritone, and
bass. Each of these general categories breaks into subsections based on vocal qualities,
types of characters, and in some cases even perceived physical requirements of singers
within these fachs. A summary of the subsets of each fach can be found in Appendix B.
Of the singers that I interviewed, Singers 2, 3, 5, 7, 10, and 11 were sopranos, Singers 1
and 9 were mezzo-sopranos, Singer 8 was a tenor, and Singer 4 was a baritone. Their
ages ranged from late teens to late twenties, and their performing experience ranged from
educational to professional performances.
My intention with this thesis is to discuss the role image plays in present-day
opera, not to make value judgments about the phenomenon itself. However, the
vocabulary used to describe image is generally charged with associations. At various
points in presenting and discussing my research, people expressed concern that the
language used was offensive, particularly when discussing issues of weight. In this
writing, I have endeavored to use direct quotes or use as neutral language as possible in
5
describing a particular singer’s physical image. It is, however, interesting to note that the
singers themselves were generally comfortable with using a variety of terms to discuss
how they viewed themselves, other singers, and the community as a whole. The
population that seemed the most offended by some of this language was that outside of
the opera community.
I also found throughout my fieldwork and in presenting my research that many
opera outsiders were surprised and even shocked by some of the norms within the opera
community. A standard educational practice within the opera community is to provide
public feedback to a singer about their performance. This feedback occurs in
competitions, masterclasss, and even in some academic classroom settings.
6
Singers
receive comments and suggestions on how they can improve their performances,
including suggestions for dramatic changes, suggestions regarding vocal techniques, or
suggestions pertaining to their physical image. As singers advance in their career,
reviews of their performances are published online and in periodicals. Singers become
accustomed to receiving highly individualized feedback, which again often occurs in
public settings. Though this appeared to be somewhat difficult for non-community
members to process, my focus in this thesis is the type of feedback received and not the
practice of receiving this type of feedback publicly.
I also found it problematic to define the word “image.” Though I initially
assumed image concerns in present-day opera were limited to weight, the issue of image
in opera is much more complex. Opera insiders use the term “image” in a variety of
6
Masterclasses are public workshops where singers perform for an opera professional or
singer and receives limited feedback about their performance.
6
different contexts. Some use the term to refer to intangible qualities, like appearing
confident, mature, or experienced. Others use image to refer to how they dress, wear
their hair, and present themselves. Still others use the term to refer to their weight,
height, and age. Further, one’s image can refer to perceptions about appearance like
beauty and health. In my fieldwork, I encountered all of these possible definitions in
various combinations. Regardless of the definition, all singers seemed to acknowledge
that image was becoming an increasingly integral part of their career. Most singers I
spoke with were actively working on creating or maintaining a specific image for their
opera career. For most singers, their ideal image comprised a variety of different factors
and was often in direct opposition to some of the stereotypes of opera singers. Though
physical image concerns will comprise the bulk of my discussion, it is also important to
include discussion of non-physical factors, as singers rarely separate the two in
discussing issues of image in present-day opera.
Existing Scholarship
Both within ethnomusicological scholarship and other disciplines, little published
scholarship deals directly with opera’s focus on physical image. There are a few articles
that examine racial issues in opera, such as Wallace McClain Cheatham’s article “Black
Male Singers at the Metropolitan Opera” in The Black Perspective in Music.
7
Though
this article is a thorough discussion of why there are so few black singers in major
7
Wallace McClain Cheathem, “Black Male Singers at the Metropolitan Opera, The Black
Perspective in Music 16: no. 1 (Spring, 1988): 3-20.
7
houses, the article is somewhat outdated. Published in 1988, the article discusses singers
who were active in the 1950’s. There have been few similar articles published within the
last 20 years, though my research suggests that opera’s focus on image has become more
pronounced in the last three decades.
8
While there is limited scholarship on issues of image within opera, some studies
have been performed linking physical appearance and performance more generally. Joel
Wapnick, Alice Ann Darrow, Jolan Kovacs Mazza, and Lucinda Dalrymple published a
series of studies in the Journal of Research in Music Education which all demonstrated
that when listeners see an attractive person perform as well as hear them, listeners rate
them more favorably. They studied the issue first among singers.
9
Six female and eight
male singers created an audiovisual clip of approximately 90 seconds of a classical
selection. The singers were then rated by 82 adults who received either an audiovisual
clip or an audio clip. The listeners judged the singers on vocal performance and physical
attractiveness if they saw an audiovisual clip. The study found that for male singers,
attractive males were ranked higher than their less attractive counterparts on the
audiovisual clips.
10
Interestingly, attractive female performers were ranked more highly
than less attractive female performers in both their audio and audiovisual performances.
The study notes that results among singers of higher caliber may differ. The authors also
8
Though not yet published, scholar Naomi André is currently co-editing an essay
collection examining representations of Blackness in opera.
9
Joel Wapnick, Alice Ann Darrow, Jolan Kovacs, and Lucinda Dalrymple, “Effects of
Physical Attractiveness on Evaluation of Vocal Performance,” Journal of Research in
Music Education 45, no. 3 (Autumn, 1997): 470-479.
10
Ibid, 477.
8
note that it was difficult to define what specifically made a singer be perceived as
attractive, and also notes that dress and confidence may have made an impact on
perceptions of attractiveness.
11
Regardless, this study provides some evidence to support
the thesis that audiences respond more favorably to attractive performers.
Wapnick, Kovacs Mazza, and Darrow performed a similar study on violin
performance evaluation.
12
The methodology was similar to the vocal study, in which
twelve violinists were rated by 72 adults. As in the first study, some of the listeners
received audiovisual clips, while some received only audio clips. In this study, they
asked their listeners to rate appropriateness of dress and stage behavior in addition to
musical performance.
13
This study again found that more attractive performers, in this
instance male and female, were rated higher for musical performance in both audio and
audiovisual performances. They attribute this to the possibility that more attractive
musicians receive more encouragement as they progress in their training than less
attractive musicians, leading them to play better as adults.
14
This study also found that
performers who received high rankings on stage performance and dress were rated higher
musically in their audiovisual performance than they were ranked musically in their
11
Wapnick et al, Vocal Performance Study, 477.
12
Wapnick, Kovacs Mazza, and Darrow, “Effects of Performer Attractiveness, Stage
Behavior, and Dress on Violin Performance Education,” Journal of Research in Music
Education 46: no. 4 (Winter, 1998): 510-521.
13
Ibid, 513.
14
Wapnick et al, “Effects of Performer Attractiveness, Stage Behavior, and Dress on
Violin Performance Education,” 518.
9
audio-only performance.
15
This demonstrates that non-musical factors can have an
impact on the reception of musical performances. Their third study on the issue, “Effects
of Performer Attractiveness, Stage Behavior, and Dress on Evaluation of Children’s
Piano Performances” yielded similar results.
16
These studies, though not conclusive,
demonstrate that there is at least some link between a performer’s appearance onstage
and audience reception to them.
Scholarly articles from other disciplines, though not directly related to my topic,
were also helpful in exploring this issue. I consulted a variety of studies which supported
my hypothesis that there is an image focus in present-day Western society, which I will
later discuss as it relates to Western opera’s recent focus on image.
It should be noted
that the study of physical beauty and its role in Western society is somewhat complex,
and has been studied within a variety of disciplines, including but not limited to
anthropology, biology, advertising, and other fields. One study that I found of particular
use was Anthony Synnott’s two-part article “Truth and Goodness, Mirrors and Masks --
Parts I and II: A Sociology of Beauty and the Face.”
17
This article provided a useful
history and a compilation of other studies that supported the importance of physical
image within Western society, particularly the importance and benefit of beauty. Studies
about body image in the field of dance were also helpful. Wendy Oliver’s article “Body
15
Wapnick et al, Violin Performance Study, 519.
16
Wapnick et al, “Effects of Performer Attractiveness, Stage Behavior, and Dress on
Evaluation of Children’s Piano Performances,” Journal of Research in Music Education
48: no. 4 (Winter, 2000): 323-335.
17
Anthony Synott, “Truth and Goodness, Mirrors and Masks -- Part I: A Sociology of
Beauty and the Face,” The British Journal of Sociology 40, No. 4 (December, 1989): 607-
636.
10
Image in the Dance Class” both outlines the ideal body image for men and women in
Western culture, and then further examines the ideal body image within the dance world
and how students can negatively internalize these expectations.
18
Further, the article
summarizes other studies in the area of dance. This study demonstrated a direct link
between a dancer’s body composition and their career, as well as existing negative
consequences within the dance world.
I also consulted studies in order to examine the importance of image in Western
society. In addition to the summaries found within Wapnick et al’s work supporting the
hypothesis that physically attractive individuals have a variety of advantages, I examined
other studies across a variety of disciplines demonstrating that in Western culture,
“attractive” individuals have many advantages, including being considered more sexually
desirable and having an easier time achieving both employment and promotions. M. J.
Tovee, D. S. Maisey, J. L. Emery and P. L. Cornelissen’s study “Visual Cues to Female
Physical Attractiveness” indicated that females were more desirable when they were
within a healthy Body Mass Index (BMI), and had an easier time attracting sexual
partners.
19
Debra Umberson and Michael Hughes’s article “The Impact of Physical
Attractiveness on Achievement and Psychological Well-Being” indicated that physical
attractiveness leads to higher achievement in a variety of settings as well as an overall
18
Wendy Oliver, "Body Image in the Dance Class," JOPERD: The Journal Of Physical
Education, Recreation & Dance 79, no. 5 (May 2008): 18-41. Academic Search
Complete, EBSCOhost (accessed April 18, 2012).
19
M. J. Tovee, D. S. Maisey, J. L. Emery and P. L. Cornelissen, “Visual Cues to Female
Physical Attractiveness,” Proceedings: Biological Sciences 266: No. 1415 (Jan. 22,
1999): 211-218.
11
improved state of mental health.
20
W. Benoy Joseph’s study “The Credibility of
Physically Attractive Communicators: A Review” found that attractive individuals were
considered more credible than their non-attractive counterpoints, and also more
effectively sold products than non-attractive individuals.
21
Though I did not necessarily find consensus as to what specifically made someone
physically attractive, generally accepted norms include having an appearance of youth,
being within a limited weight range, and possessing easily identifiable European or
“exotic” features. Additionally, men are expected to be muscular and keep their hair
relatively short. Women should be of a lower weight and toned, though not overly
muscular, and have hourglass-like proportions. Though there are a variety of counter-
movements that attempt to challenge these standards, these counter-movements
underscore the prominence of these standards within present-day Western culture.
The issue of image in opera also receives significant attention in non-academic
publications and forums. Specific articles and publications will be discussed in more
detail in the second chapter, as these articles are part of the body of proof that
demonstrates opera’s image focus. There are several music-focused magazines that
include articles discussing the issue, including but not limited to Opera News and
Classical Singer, as well as occasional discussion in music education journals. Non-
music-centric publications also discuss the issue with some frequency in editorials,
20
Debra Umberson and Michael Hughes, “The Impact of Physical Attractiveness on
Achievement and Psychological Well-Being.” Social Psychology Quarterly 50: no. 3
(September 1987): 227-236.
21
W. Benoy Joseph, “The Credibility of Physically Attractive Communicators: A
Review,” Journal of Advertising 11: no. 3 (1982): 15-24.
12
features, and reviews. The issue is also discussed in a variety of forums on the Internet,
including but not limited to blog posts and question-and-answer forums. Articles found
in magazines and Internet forums, though often written by experts in music, performance,
and medical fields, generally neither cite other studies or articles on the issue, nor do they
include much beyond anecdotal evidence. However, Classical Singer contributor
Michelle Latour compiled surveys regarding image issues among singers, the results of
which she discussed over the course of a four part series, “Does Size Matter?,” in the
magazine in 2011.
22
It is my hope that other scholars will explore image issues not only
in opera, but also as they impact other genres of Western classical music.
Trends in the Western Entertainment Industry that Contribute to Opera’s Image
Focus
Present-day opera productions are in direct competition for ticket sales and
audiences with musical theater, television, movies, and other music genres, and have
been struggling to attract and maintain audiences. Beginning in the mid-twentieth
century, opera professionals began to express concern that opera was no longer attracting
the audiences it once had.
23
A variety of suggestions were made as to why this was
22
Michele Latour, “Does Size Matter?,” Classical Singer October 2011, November 2011,
January 2012, and March 2012 issues (complete citations in bibliography).
23
For example, Kenneth Wright’s article “Television and Opera” in the Autumn 1956
issue of Tempo. Daedalus’s Fall 1986 issue was entitled “The Future of Opera” and was
devoted to the issue. Additionally, Norman Platt’s article “Future for Opera? Singing in
the Dark? Norman Platt on the Opera Problem” in The Musical Times , Vol. 135, No.
1815 (May, 1994), pp. 279-281.
13
happening, including but not limited to opera being perceived as “elitist and boring,” lack
of quality productions, lack of quality singers, lack of funding, and lack of education
among the audience.
24
Opera companies continue to struggle with both financial matters
and attracting audiences. Some have attributed this to current-day audiences being
different than previous generations of opera audiences, though others have argued that
opera still speaks to audiences in the same way. Current-day audiences primarily differ
from previous audiences in their differing definitions of vocal beauty and their visual
expectations of performers.
Within the Western entertainment industry, image plays a crucial role. The
appearance of actors and popular musicians is highly scrutinized both when they are
performing and when they are not. Tabloids and celebrity magazines report on suspected
weight gain and loss, plastic surgery, acne, clothing, accessories, and other facets of an
entertainer’s image. Often, fitting within accepted beauty standards is a prerequisite for
success within the entertainment industry, sometimes to the extent that talent becomes
secondary. However, there are exceptions to these beauty standards. These include older
performers who achieved success while they were younger, overweight actors and
musicians, and others who are not considered conventionally attractive. Within dramatic
art forms like television, movies, and theater, non-attractive but talented individuals are
often relegated to character roles, and even when they are cast in leading roles, their
physical “flaws” are often discussed within the course of the drama.
24
David Harewood, “The Future of Opera,” Daedalus 115: no. 4 (Fall, 1986): 17.
14
As opera coach Steven Blier has observed, present-day audiences are accustomed
to and relate better to the visually realistic portrayal of characters in movies and
television.
25
For example, if a plot calls for a blond, tan, physically fit man in his
twenties, audiences expect an actor who looks blond, physically fit, and in his twenties.
Further, as scholar Kenneth A. Wright has noted, it is commonly believed that current-
day audiences will react negatively to actors who do not look the part.
26
There is much
anecdotal evidence that supports this theory. For example in 2012, Suzanne Collins’
commercially successful young adult book The Hunger Games was adapted to a movie
with actress Jennifer Lawrence in the leading role of Katniss. Fans of the book initially
reacted negatively to Lawrence using a variety of forums, including social media and by
commenting on articles announcing the casting. They felt she was “too old, too blonde,
too pale, too pretty to do the gritty warrior girl justice.”
27
Lawrence ultimately received critical and popular acclaim for her portrayal, but
this was a risk for the production team, who maintained throughout that they had made
the right casting decision. Lawrence dyed her hair brown for the role, and critics felt her
acting skills helped her carry the role off, but many reviews still felt she was not skinny
enough to portray the character, who was close to starvation for much of the book. This
type of reaction demonstrates a potential reaction of fans when casting does not meet
25
Blier, 15.
26
Kenneth A. Wright, “Television and Opera,” Tempo New Series: 45 (Autumn 1957):
10.
27
EW Staff, “This Week's Cover: First look at Jennifer Lawrence as Katniss in 'The
Hunger Games' – EXCLUSIVE,” http://popwatch.ew.com/2011/05/18/the-hunger-
games-jennifer-lawrence-first-look-exclusive/ (accessed January 15, 2012).
15
their expectations. Though this reaction does not seem to have had a major impact on the
success of this particular adaptation, reactions like this could potentially cause a
production to fail.
Similar types of image-related pressure exist on popular musicians.
28
Though this
pressure is usually not related to the visual interpretation of a character, many genres of
popular music have some sort of visual expectation of performers within that genre.
These expectations may be limited to expectations of dress, but can also include other
facets of image, including hair, makeup, and even in some cases race. In more
mainstream genres of popular music, performers may also be expected to fit within
present-day standards of beauty. Non-conventionally attractive performers who are
considered exceptionally talented, particularly in less pop-oriented genres, can find
mainstream success. However, they often face scrutiny for their appearance, sometimes
to the point that over the course of their career they work to fit within standard beauty
norms.
An example of a popular music star striving to fit within standard beauty norms is
Adele, a commercially successful pop singer who was overweight at the start of her
career and was criticized for her weight by fashion designer Karl Lagerfeld. Responding
in People magazine to the criticism, she said:
“I've never wanted to look like models on the cover of magazines. I represent the
majority of women and I'm very proud of that. I'd lose weight if I was an actress
and had to play a role where you're supposed to be 40 pounds lighter, but weight
has nothing to do with my career. Even when I was signing [a contract], most of
28
For the purposes of this thesis, the term “popular musicians” will encompass non-
classical forms of music, including but not limited to pop, rock, R&B, etc.
16
the industry knew if anyone ever dared say [lose weight] to me, they wouldn't be
working with me.”
29
However, at the time of this writing, Adele is actively working to lose weight. Though
she has cited both her recent vocal surgery and health as the reason for this change, it is
interesting to note that this will likely ultimately cause her physique to be closer to the
accepted beauty norms that she had initially spoken against.
The form of popular entertainment that combines the image standards for both
actors and popular musicians is musical theater, a genre that combines dramatic and vocal
talent. In this way, musical theater is similar to opera. However, musical theater is in
many ways more accessible to mainstream American audiences than opera. Musical
theater within the United States is almost exclusively performed in English, and given the
relative newness of the art form as well as the frequency of successful new works the
subject matter is often more contemporary. Within musical theater a singer’s physical
image is extremely important, even beginning at the collegiate level. I witnessed one
university program in which all the performers are taken for what is essentially a
makeover before they are allowed to perform for agents and casting directors. I also
witnessed a woman who wanted to be in that program audition unsuccessfully several
times, and who only was admitted to the program after losing weight and changing her
hair and dress.
For those who sing in musical theater, this type of pressure continues into their
professional careers. Audition postings for musicals are extremely specific in listing the
29
Jocelyn Vena, “Adele Addresses Her Weight, Karl Lagerfeld Apologizes,” MTV.com,
http://www.mtv.com/news/articles/1678832/adele-weight-karl-lagerfeld.jhtml (accessed
April 11, 2012).
17
desired physical traits for the characters. For example, below is the list of characters and
their descriptions in a recent audition posting for Colorado’s Arvada Center’s production
of Legally Blonde.
30
In addition to providing basic information like gender and voice
part, the casting panel lists specific physical characteristics for many of the characters,
including age range and even more specific qualifications such as asking for a
“Caucasian…blonde…pretty-face[d]” lead. Clearly, a vocally appropriate individual
would not be cast unless they fit these characteristics as well.
ARVADA CENTER – LEGALLY BLONDE Character Breakdown:
• Elle Woods– Female, to play early 20’s, Caucasian. The quintessential
California blonde who follows her ex-boyfriend to Harvard Law School
and realizes that she has more to offer than just a pretty face and a bubbly
personality. Gb2-G5 (Soprano belt).
• Brooke Wyndam – Female, to play late 20’s - early 30’s. An exercise
video star who is also a former sorority girl. Must be in top physical
condition. A3-G5 (Alto/Soprano).
• Emmett Forrest– Male, to play mid-late 20’s. A smart and sensitive law
student who takes Elle under his wing. B2-E5 (Alto).
• Enid– Female, to play 20’s. A mousy, intellectual law student. G3-G5
(Soprano belt).
• Margot– Female, to play early 20’s, Caucasian. A pretty and funny
California sorority girl. G#3-F5 (Soprano belt).
• Paulette – Female, to play early –mid 20’s. A brash and funny hair stylist
who is friends with Elle and longs to find to man for herself. A3-A5
(Soprano belt).
• Pilar– Female, to play early 20’s non- Caucasian. A pretty and funny
California sorority girl. G#3-F5 (Soprano belt).
• Professor Callahan– Male, to play 40’s - 50’s. A pompous and
manipulative law professor at Harvard. A2-F#4 (Baritone).
• Serena– Female, to play early 20’s, Caucasian. A pretty and funny
California sorority girl. G#3-F5 (Soprano belt)
• Vivienne Kensington– Female, to play early – mid 20’s. A smart and
savvy Harvard law student who initially dismisses Elle, but grows to be
her friend. A3-F5 (Soprano belt)
30
“Arvada Center-Legally Blonde Character Breakdown,” The Arvada Center Announces
Auditions for the musical, Legally Blonde, Colorado Theatre Guild,
http://www.coloradotheatreguild.org/default.asp (accessed March 21, 2012).
18
• Warner Huntington III– Male, to play early 20’s. A good-looking, but
pompous guy who breaks Elle’s heart. Eb3-Ab4 (Tenor)
• Elle’s dad – Male. Elle’s rich golfer father. D3-E#4 (Baritone)
• Elle’s Mom– Female. Elle’s socialite, country-clubbing mother. C4-E5
(Alto).
• Kyle– Male, to play 30’s - 40’s. A great looking, in shape employee for
UPS, Self-assured and not the brightest bulb.
• Leilani– Female. B3-Eb5 (Alto).
• Manager– Female. G3-C5 (Alto).
Often, this type of specific character description is related to creating visually
authentic representations of the characters. In the case of Legally Blonde, much of the
drama is centered on the character’s looks. Elle in particular is blonde and pretty, which
is supposed to be in contrast to the “mousy” woman her boyfriend leaves her for. Brooke
is a fitness instructor, and consequently needs to be physically fit. Based on the character
descriptions, the director also seems to feel there also needs to be a visible distinction
between the older and younger characters. Casting with this type of physical specificity
in mind allows the production team to enhance the drama through visual means. It is
important to note that an actor’s actual physical traits, particularly his or her age, is less
important than what he or she looks like onstage. Conceivably, a brunette woman in her
forties could still play Elle if she dyed her hair and looked younger onstage. This
production of Legally Blonde further demonstrates how production teams must cater to
present-day audiences’ preconceived physical depictions of characters. Before Legally
Blonde became a musical, it was a commercially successful movie starring Reese
Witherspoon in the leading role. Producers of the musical likely rely on fans of the
movie as their main audience.
19
In contrast, opera has historically cast based upon voice type and quality, rather
than on physical traits. One striking example is a 1989 Met production of Wagner’s Die
Walküre. Black soprano Jessye Norman and White heldentenor Gary Lake portray twins
Sieglinde and Siegmund. Another example is the title character in Puccini’s Madame
Butterfly, a young Asian girl, who is often portrayed by older, white singers. However,
recent casting has shifted to more closely follow the realism-oriented casting practices
typical of television, film, and theater. Covent Garden recently premiered a production of
an opera based on the life of American socialite Anna Nicole Smith, who was famous for
her voluptuous figure. They cast singer Eva-Maria Westbroek, whose figure is similar to
Smith’s (see Figures 1 and 2). As Blier notes, casting directors seem to be casting based
on the belief that audiences want singers who “honor roles visually as well as vocally.”
31
Figure 1.
Photo of Anna Nicole Smith
32
31
Blier, 14.
32
“Archive for the Anna Nicole Smith Category,” PerezHilton.com,
http://perezhilton.com/category/anna-nicole-smith/page/2/#.T4-CjlH3Ab0 (accessed
March 1, 2012).
20
Figure 2.
Photo of Eva-Maria Westbroek as Anna Nicole Smith
33
33
“Seen and Heard UK Opera Review: Turnage, Anna Nicole,” Seen and Heard,
http://www.musicweb-international.com/SandH/2011/Jan-Jun11/turnage1702.htm ,
(accessed March 1, 2012).
21
In addition to their expectation of visually realistic character portrayal in dramatic
genres and physical attractive performers in both dramatic and popular music, present-
day Western society has many different interpretations of vocal beauty. Operatic
productions combine many different art forms, but a major component of opera has been
the use of beautiful operatic voices. Though writing styles for the voice have varied
throughout opera’s history (showcasing different vocal qualities in different historical
periods), the root of opera has been to showcase voices that are considered beautiful.
Operatic voices should have a similar sounding tone throughout their range, have a free,
non-forced vibrato (slight variation of pitch resulting from the free oscillation of the
vocal cords), and be powerful enough to be heard over a full orchestra (the size of which
can vary). Skilled operatic singers also know how to modify languages so that they can
both be understood as well as sung beautifully. Opera singers also work out their
breathing so that phrases make musical and dramatic sense and are fully supported
throughout.
Mezzo-soprano Elina Garanca’s performance of the aria “Una Voce Poco Fa,”
from Rossini’s Il Barbiere di Siviglia nicely demonstrates these desired vocal qualities.
The particular performance I analyzed is available on YouTube.
34
Garanca’s
performance shows an even tone throughout the wide range of the aria. Her vibrato
sounds free and unmanufactured. Each note within the aria is clearly audible, which can
be particularly difficult within the melismatic sections towards the end of the aria. The
34
Elina Garanca, “Una Voce Poco Fa,” Il barbiere di Siviglia, Youtube video,
http://www.youtube.com/watch?v=od368OEUZ_8. (accessed March 3, 2012). It should
be noted that Garanca has several commercial recordings of this aria as well. However,
in order to make a better comparison to Jenkins’ performance later in this paper, I am
analyzing a video of her performance available on youtube.
22
text is also clearly understandable. This is assisted by Rossini’s writing, where text is
sung in an easy-to-understand range before being repeated in higher tessituras. This
performance exemplifies what many consider to be beautiful operatic singing.
In contrast, most non-operatic singers sound quite different, whether they are
performing pop, rock, musical theater, or jazz. These voices are often evaluated by
different qualifications than classically trained voices, but in order to draw comparisons
with operatic voices, I will analyze popular voices within classical parameters. One of
the major differences is amplification. The majority of non-operatic vocal genres use
amplification technology in order to ensure the singer is heard, allowing for less powerful
voices to become successful within these genres. Vibrato is also less frequently used, and
the use of straight-tone is more common. Evenness of tone is not required, and often
non-operatic singers use a breathier, less supported sound in their higher range.
Scratchiness, or hoarseness, is acceptable and even desirable within many genres outside
of opera and clear enunciation of the text is not as important within non-operatic styles.
Many non-operatic singers do not pronounce final consonants, and often add sounds into
words such as a “chu” sound between words like “don’t you,” creating the word
“donchu.” It is also important to note that many commercial recordings of non-operatic
voices utilize autotune technology to correct vocal flaws and tuning. Though a hotly
debated technology, it is widely used. Some performers even use an auto-tuned pre-
recorded track in live performances.
Though flawed by classical standards, current-day audiences react positively to
popular vocal performances and often describe these types of voices as beautiful, such as
23
popular singer Adele’s. Her vocal qualities can be analyzed in her live performance of
her hit “Someone Like You” at the iTunes 2011 Festival.
35
Overall, her voice has a bit of
a raw quality and sounds somewhat scratchy at times, such as in her opening phrase
beginning at :31. Her use of vibrato is somewhat inconsistent. She performs almost
exclusively with a microphone. Her voice is also much richer in her lower range, and in
the higher range there is an almost forced belt sound, and then in the extremes of her high
range it becomes almost breathy. Using operatic standards her diction would be
considered somewhat sloppy, such as at :40 when she says “thatchu” instead of “that
you.” Her final consonants are also sometimes difficult to hear, such as in the phrase
“married now” at 00:46. It is difficult to hear the final “d” in married. Although by
classical standards one can find many flaws, Adele is an incredibly popular present-day
singer and her fans love her voice. The comments posted to the video of this
performance on Youtube attest to this, such as commenter Wunderbarlife’s statement,
“Adele you´re so beautiful just the way you are, don´t ever change!! you are such an
amazing singer.”
36
Though listeners who prefer classically trained voices might not
enjoy Adele’s performances, for many popular music fans, voices like Adele’s are
considered beautiful.
Further complicating the issue of vocal beauty in operatic versus non-operatic
voices is the genre of “popera.” Popera, which originated in the latter half of the
twentieth century, is a genre in which classical-sounding voices sing classical-sounding
35
Adele, “Someone Like You,” ITunes Festival 2011, Youtube video,
http://www.youtube.com/watch?v=Ew-9r_6MABg&feature=related (accessed March 4.
2012)
36
Adele youtube video comments.
24
repertoire. However, unlike opera singers, who primarily perform opera roles and art
songs from a variety of time periods, many popera performers perform primarily
recently-written songs in Italian that have some orchestration, though they do perform
some operatic arias and art songs. Further, many popera singers have not performed in
fully-staged operatic productions. Vocally, popera singers more closely resemble non-
operatic singers than opera singers. Popera singers almost exclusively perform with a
microphone. Though they use vibrato, the use of vibrato is intermittent. Vocal quality
tends to be inconsistent throughout their range. Their diction is also not always as
accurate as that of a classical singer.
As of this writing, popera singer Katherine Jenkins is very popular, with a large
following of fans who enjoy her original songs and performances of opera arias.
Differences between popera and opera voices can be found by contrasting her recording
of “Una Voce Poco Fa” with the previously analyzed Garanca recording. In this
televised performance from the Classical Brit Awards from 2009, Jenkins is amplified
through the use of a microphone.
37
Her lower range sounds incredibly dark and uses a
very wide vibrato, as seen in the opening portion of the recording, whereas her upper
range sounds thin, unsupported and uses no vibrato, as heard in the melismatic passages
at 2:50. Her melismas also lack accuracy, and she often skips entire melodic passages
altogether, as exemplified at 2:48, when she skips many of the notes in the descending
melismas, heard in their entirety at 2:25 of the Garnaca recording. She sounds like she is
out of air at the end of her phrases, which all cut off abruptly. The highest note in the
37
Katherine Jenkins, “Una Voce Poco Fa,” Youtube video,
http://www.youtube.com/watch?v=BWmNdGQClTo, (accessed March 3, 2012).
25
piece, at 4:14, sounds shrill and forced. She is also flat throughout much of the
recording. However, though again flawed by classical standards, this type of singing is
incredibly popular, as evidenced by the commercial success of Jenkins and other singers
in the genre.
The differing definitions of vocal beauty among present-day audiences can make
it difficult for opera companies to attract audiences simply on the vocal talent of singers.
This in combination with the visual expectations of the popular art forms opera is in
competition with has helped to create an environment where opera could and has become
more focused on the physical image of singers.
Conclusion
Existing scholarship in both music and non-musical fields suggests that there is a
link between a person’s physical appearance and the reception of his or her performance.
This is supported within present-day Western entertainment, where a performer’s image
can directly impact audience reception. The link between image and audience reception,
when combined with shifting and expanding definitions of vocal beauty within present-
day Western society, have led to an environment that supports opera’s emphasis on the
physical as well as vocal characteristics of singers. In the next chapter, I examine
changes within the opera world that also have supported a focus on singers’ images.
26
CHAPTER TWO: EVIDENCE OF IMAGE’S IMPORTANCE IN PRESENT-DAY
OPERA
Given that opera, like all music, exists within a broader society, cultural factors
like the emphasis on physical image in present-day entertainment genres and changing
definitions of vocal beauty will, as my research demonstrates, impact musical
performance and reception. The cultural shifts outlined in the previous chapter have
created an environment that contributes to the image focus within present-day opera.
However, factors within the present-day opera community also contribute to this focus.
In this chapter, I explore changes within the present-day opera scene and I provide
evidence from within the opera community to support my assertion that image has
become an integral part of present-day opera. I also discuss the types of educational and
performance experiences where opera singers encounter image-related pressure.
Though some opera outsiders have reacted to opera’s image emphasis with
surprise and disapproval, it is interesting to note that historically the industry has not been
entirely image-blind. Opera has its roots in the Baroque period. Metastasio, one of the
primary librettists of the period, expressed in his writings a preference for attractive
singers.
38
In the Romantic period, Verdi reportedly blamed the initial poor reception of
La Traviata on the physical appearance of the soprano who first performed the role of
38
Pietro Metastasio, “Metastasio’s Letter to Hasse October 20, 1749,” in Patrick Smith’s
The Tenth Muse: The Historical Study of the Opera Libretto (New York: Alfred A
Knopf, 1970), 403.
27
Violetta, Fanny Salvini-Donatelli. He felt that she was too overweight and too old to
accurately portray a character who was young and dying of consumption, and felt that the
audience reacted negatively to this.
39
In the twentieth century, soprano Maria Callas also
received criticism regarding her weight at the start of her career.
40
However, though
these and other exceptions occur throughout opera’s history, until relatively recently
opera has largely tended to ignore the physical appearance of singers provided they
possess an adequate voice. Singers who possessed a desirable voice could be cast
regardless of their weight, age, race, or any other factors of their physical appearance.
An increase in film and broadcast operatic productions and a decrease in the
acceptance of previous physical size stereotypes of opera singers have contributed to the
heightened image-pressure in present-day opera. The most common stereotype of an
opera singer is a white, overweight woman in a Viking helmet. Though some associate
this visual with Wagner, as his costumes frequently included these types of helmets,
many associate this visual with all opera singers.
41
This stems from the long held belief
that singing opera requires one to be overweight. Many singers I encountered in my
fieldwork who were not overweight reported that others were surprised they were
pursuing opera given their size. Some members of the opera community and opera
39
“Inside the Production: The Contemporary Nature of La Traviata,” Pacific Opera
Victoria, http://pov.bc.ca/trav-prod.html (accessed April 13, 2012).
40
Emily Stephenson, “Does The Voice Matter: An Exploration of Maria Callas’s Fame”
(paper for History of Opera Graduate Seminar, Winter 2010).
41
Wagner costumed many of his main characters in winged and horned helmets, which
present-day audiences have assumed are Viking helmets. Additionally, as previously
stated Wagnerian operas require some of the largest voices, which due to misconceptions
about the link between vocal and physical size can result in the use of casting overweight
singers.
28
outsiders believe that the act of opera singing requires singers to consume excess
calories.
42
Some also believe proper resonance necessitates excess weight, or that fat is
needed around the vocal mechanism in order to allow it to function.
43
Generally, there is
an assumption that the larger the voice, the larger a person has to be.
44
Descriptions of
some fachs often include physical specifications for these voices, such as singer Tiana
Malone’s indication that soubrettes, the smallest soprano voice, should have a “delicate
physical appearance” or her indication that Wagnerian singers, often the largest voices,
are also often the “largest…. in physical size.”
45
Despite the persistence of such
descriptions, the mythology of vocal size being related to physical size has been
scientifically proven to be unfounded.
46
In addition to the disproval of the myth that big voices require big bodies, many
present-day singers are actively disproving this myth by staying within a limited weight
range while still possessing large vocal instruments. The increase of physically smaller
singers who still possess large vocal instruments allows casting directors to consider a
42
Stephen Juan, “Why are opera singers fat,” The Register June 23, 2006,
http://www.theregister.co.uk/2006/06/23/the_odd_body_opera_singers/ (accessed
February 7, 2011).
43
Ibid.
44
Blier, 14.
45
Tiana Malone, “What the Fach? A beginner’s guide to the German Fach system,” La
Scena Musicale 16: no. 6 (March 18, 2011), http://www.scena.org/lsm/sm16-6/sm16-
6_fach_en.html (accessed April 4, 2012).
46
Robert Schmerling, “Do Big Voices Need Big Bodies?” Plan for Your Health:
Harvard Medical School Commentaries: Medical Myths,
http://www.planforyourhealth.com/living-healthy/harvard-medical-school-
commentaries/medical-myths/commentaryc/Commentary/commentarya/single/show-
commentary/do-big-voices-need-big-bodies/ (accessed February 5, 2011).
29
singer’s physical image without compromising vocal talent, which contributes to
changing image standards within the opera community. A good example is Annalena
Persson, a Wagnerian soprano (see Figure 3). The Wagnerian fachs are considered to be
among the largest voice types and according to stereotypes would require the largest
singers. However, Persson would not be considered overweight by most standards, and
in fact is frequently costumed in ways that showcase her body. As a review of her 2010
performance of the title female in Tristan und Isolde stated, “And for once we could
watch a singer whose slim, tall figure and beauty made a truly credible Isolde.”
47
Many
members of the next generation of great opera singers are also proving that being
overweight is not necessary, allowing casting directors to favor physically smaller singers
without sacrificing vocal talent.
Even though there are many singers who demonstrate that being overweight is not
a prerequisite for opera, as well as no scientific evidence supporting the link, some
members of the opera community still believe that being overweight is a requirement for
success. I occasionally observed some singers justify eating junk food or large portions
because as one soprano told me, “big voices means big girls!”
48
They seemed to believe
that given their chosen profession as well as their fach, they did not have to worry about
fitting within any standards for physical image. I heard other singers justify being
overweight because they felt that it was appropriate for their career. Although these
47
Bernard Jacobson, “Review: Seattle Opera's 'Tristan und Isolde' presented masterfully
as an opera of the mind,” The Seattle Times August 2, 2010,
http://seattletimes.nwsource.com/html/thearts/2012512726_opera03.html?prmid=head_m
ain (accessed February 8, 2011).
48
Informal discussion with soprano, fall 2009.
30
singers echo the long-held belief that physical mass is a necessity to be a great opera
singer, this is now a minority viewpoint. It seems that most members of the opera
community no longer place a link between physical size and vocal size.
Figure 3.
Annalena Persson in staging rehearsal (Persson is in the forefront of the picture)
49
Of the singers I interviewed, most felt that there was no link between vocal and
physical size. Singer 10 told me “[Physical] size is not indicative of vocal size.”
50
Further, many singers felt that being overweight could actually negatively impact their
49
Rozaryl Lynch, “Photo of Annalena Persson in a staging rehearsal, with Stephen
Milling and Margaret Jane Wray,” Seattle Opera Blog July 27, 2010,
http://www.seattleoperablog.com/2010/07/education-intern-at-tristan-rehearsal.html
(accessed March 2, 2011).
50
Singer 10, interview by author, Denver, CO, Winter 2010.
31
singing. In addition to feeling that being overweight was not necessary for an operatic
voice, Singer 6 felt that being overweight could actually be a hindrance because singing
required energy and one needed to be “healthy.”
51
She believed that “health-wise, it is
important to not be too obese. If you can’t walk up the stairs, you can’t sing.”
52
She also
believed one needed “energy to embody a character.”
53
Singer 9 stated that for a singer,
one’s “body is [one’s] tool,” and also felt that “all sizes can make music.”
54
These
singers felt that not only was there no requirement for excess physical mass for opera
singers, but that having a healthy body weight was actually beneficial to their singing
voice.
Additionally, Singer 4 echoed that all physical sizes could have good voices, and
cited his current academic program as evidence.
55
He too had seen anecdotal evidence
indicating that physical size and vocal size did not have a link. Singer 2 stated that
overweight opera singers were a “stereotype” that was becoming less true over time.
56
She went on to say that people were “surprising us,” and proving that physical size was
not necessary.
57
Singer 7 felt that while there were some physical attributes that were
51
Singer 6, interview by author, Denver, CO, Winter 2010.
52
Ibid.
53
Ibid.
54
Singer 9, interview by author, Denver, CO, Winter 2010.
55
Singer 4, interview by the author, Denver, CO, Winter 2010.
56
Singer 2, interview by author, Denver, CO, Winter 2011.
57
Ibid.
32
required to be a good singer, they were not as “rigid” as being overweight. She felt there
were always exceptions to the stereotype.
58
In addition to the decreasing prevalence of the fat opera singer stereotype,
present-day productions attempt to reach audiences through visual as well as acoustic
mediums. There is an increasing focus on a singer’s dramatic abilities and stage
movement.
59
More and more training programs are including acting classes, stage
movement workshops, and individual acting coachings as part of their curricula. Current-
day stagings are also becoming more active than previous productions, and singers must
have the stamina to move onstage as well as sing through the show. There is also an
increasing presence of broadcast and film opera productions, which place the audience at
a closer vantage point than traditional stage productions. The closer vantage point can
also lead to a heightened awareness of a singer’s physical image.
In addition to the vantage point of the audience, film opera has many differences
from stage opera.
60
The genre of film opera has existed since approximately 1915.
61
Two different types of film operas have emerged, those that tape a stage production with
little or no modifications, and productions created specifically for the film medium.
Within both types of film opera, Italian film productions generally used the same singers
for the vocal and visual track, whereas German, British, and American film productions
58
Singer 7, interview by author, Denver, CO, Winter 2010.
59
Wright, 10.
60
Marcia Citron, “A Night at the Opera: Zeffirelli’s Otello and the Genre of Film
Opera,” The Musical Quarterly 78: no. 4 (Winter 1994): 701.
61
Ibid, 700.
33
often used younger, more attractive singers lip-syncing to a vocal track recorded by an
older, more experienced singer.
62
In the mid-twentieth century, there was some hope that
film opera would become a popular phenomenon that would help revive older works as
well as create a forum for new works.
63
Benjamin Britten and Gian Carlo Menotti even
composed operas, one and two respectively, specifically for television that were
successful when they premiered. However, the genre has never really become a popular
form of opera, though as recently as this writing new film opera productions are being
created.
More successful than film opera currently are broadcasts of live productions.
Peter Gelb, the general manager of the Metropolitan Opera (Met), began broadcasting
live telecasts of Met productions in high definition (HD) to movie theaters around the
world in 2006.
64
Because HD cameras create incredibly detailed images, the format
created even more visual challenges. When the technology was first introduced, there
was concern within the television and movie industry as to how this would magnify
physical flaws such as wrinkles or blemishes. These same concerns exist for opera
broadcasts. The clarity of HD cameras can create particular challenges when older
singers are portraying younger characters. There also has been some criticism that HD
broadcasts have skewed Met casting towards more attractive singers who may not be
62
Wright, 10.
63
Ibid.
64
Alex Ross, “The Critics: Musical Events-House of Style,” The New Yorker 86: no. 6
(March 29, 2010): 90.
34
vocally suitable for the roles they portray.
65
However, as a whole the broadcasts have
been well received, and in some locations even sell out.
The issue of image-focus in present-day opera has an increasing presence in print
media and online forums. Descriptions of image are now included in discussions and
reviews of singers, performances, and productions. There are also increasing discussions
and encouragement of singers eating healthy diets and working out, the end result of
which can also lead to singers becoming thinner. Further, there are increasing discussions
about how a singer’s image can directly impact their career. Opera singers encounter the
issue beginning in the early stages of their training, and pressure on their image continues
throughout their education and career.
Print and Internet media address the issue of image in opera both directly and
indirectly. Articles that address the issue directly explicitly make a link between a
singer’s physical image and their career. Indirect articles discuss topics like healthy
lifestyles, exercise, and diet for singers, the end result of which can lead to thinner, more
conventionally attractive singers. There are only a few publications that deal specifically
with opera. For American opera singers, perhaps the most authoritative publication is
Classical Singer, which publishes ten issues annually and is primarily marketed to
singers. The magazine, a collection of interviews with current singers or other opera
professionals, columns in which singers can ask advice from teachers, other singers,
doctors, etc, and articles on topics related to singing, has from its first issues in 1988
contained references to physical image in opera. However, beginning in the early
twenty-first century the topic became a regular feature. As discussed in the previous
65
Ross, 90.
35
chapter, in late 2011 and early 2012 issues Michelle Latour discussed her findings from a
survey she conducted on singers and body image.
66
This type of article and others like it
address the issue of image in opera directly draws an explicit connection between a
singer’s physical image and their career. The October 2011 issue also includes the article
“The End of ‘The End of the Great Big American Voice'?” in which contributor Olivia
Giovetti examines why there are fewer larger voices in present-day opera.
67
Critics have
often blamed the present-day lack of large voices on the preference for slim singers. This
article addresses the issue of image in opera indirectly.
While Classical Singer is marketed specifically to singers, the American
magazine Opera News, marketed primarily to opera aficionados, features a few articles
that discuss image in opera directly, such as coach and pianist Steven Blier’s “The Fit
Lady Sings,” from the July 2001 issue.
68
However, there are significantly more articles
that address this issue indirectly. For example, over recent years descriptions of singers
have more frequently included discussion of a singer’s looks, particularly if that singer is
considered physically attractive, like the reviews of soprano Anna Netrobko that
frequently describe her as a “Russian beauty.”
69
There have also been more elements of
physical image mentioned in its reviews of new productions. In February 2011 critic
George Danskar reviewed New Orleans Opera’s November 2010 production of Die
66
Latour “Does Size Matter” series.
67
Olivia Giovetti, “The End of ‘The End of the Great Big American Voice,” Classical
Singer (October 2011): 14-16. Voices are commonly described in terms of size.
68
Blier. Coaches work with singers on diction and interpretation.
69
David Shengold, “Wild Thing,” Opera News (November 2003): 20-22, 24.
36
Zauberflöte and mentioned the “trio of attractive, young singers” playing Tamino,
Pamina, and Papageno.
70
The magazine also occasionally conducts polls of its readers
about topics in image. They ran a reader poll after Deborah Voigt’s removal from
Covent Garden’s production of Ariadne in March 2004.
71
Voight, who had been slated to
play the title role, was allegedly removed for being too overweight to look attractive in
the “little black dress” the production called for her character to wear.
72
The issue of image-focus in present-day opera also has an increasing Internet
presence. Opera blogs like Operagasm are becoming more prominent.
73
Operagasm
runs similarly to a magazine, with both regular and guest contributors. Readers can
submit comments on each post, which occasionally sparks discussion between
commentators. The editors also update the associated Facebook page frequently, and
readers can comment on articles via that forum. As with print media, there are articles
that deal with the topic of image in opera directly and indirectly. However, again articles
that discuss the issue indirectly are more common. For example, a posting on August 23,
70
George Danskar, “In Review: North America, Die Zauberflöte,” Opera News,
February 2001.
71
“READER RESPONSES: Deborah Voigt Royal Opera at Covent Garden The Little
Black Dress,” Opera News, March 2004,
http://www.operanews.com/Opera_News_Magazine/2004/3/Features/READER_RESPO
NSES_Deborah_VoigtRoyal_Opera_at_Covent_GardenThe_Little_Black_Dress.html
(accessed February 2, 2011).
72
Catharine Milner, “Royal Opera Sacks Diva Who Was 'too Fat For Dress',” Telegraph
(London), March 7, 2004. http://www.telegraph.co.uk/news/uknews/1456228/Royal-
Opera-sacks-diva-who-was-too-fat-for-dress.html (accessed February 2, 2011).
73
Operagasm, http://www.operagasm.com (accessed January 16, 2010).
37
2011 advised singers as to what is appropriate audition and performance attire.
74
Other
articles discuss the best workout techniques for singers. Additionally, on weekends when
generally no new articles are posted, the editors post a series called “For your viewing
pleasure,” in which they post pictures of attractive opera singers, who are generally
male.
75
Other blogs also attest to the new image-orientation in the opera community.
Mezzo-soprano Cynthia Sadler writes a blog entitled The Next 100 Pounds, where she
writes about her weight loss and maintenance of that loss as well as her career.
76
Sadler,
who began the blog when she was overweight, has been actively working on losing
weight and living a “healthier” lifestyle.
77
During the course of her weight loss and to the
time of this writing she blogged about her lifestyle changes and career. Further evidence
is the blog Barihunks.com.
78
The site’s mission statement reads, “This site is dedicated to
any hunk who sings in the bass/baritone range. Singers must be professional, semi-
professional, or serious students with real potential.”
79
The site features pictures and
74
Christie Connelly, “AUDITION ATTIRE: TIPS FOR LOOKING YOUR BEST AT
THE BIG AUDITION!,” August 23, 2011, http://operagasm.com/2011/08/audition-attire-
tips-for-looking-your-best-this-audition-season/ (accessed October 10, 2011).
75
The predominance of male singers featured in this column is likely due to the entirely
straight, female editorial staff and the presumption of a mainly straight female and gay
male audience.
76
Cynthia Sadler, The Next Hundred Pounds, http://100lbs.typepad.com/ (accessed
March 3, 2010).
77
Ibid.
78
Barihunks, http://barihunks.blogspot.com/ (accessed March 3, 2010).
79
Ibid.
38
videos of singers the editors feel fit this description, as well as some biographical
information, recordings and/or upcoming performance details.
Further, the topic of image in current-day opera frequently appears in publications
not limited to opera or even classical music. Media outlets like The New York Times and
CBS to the time of this writing cover Voigt’s weight loss and changing image standards
in opera.
80
Sadler’s weight loss received similar, though less extensive, news coverage.
81
These mainstream media articles both discuss singers’ methods for weight loss and
maintenance and examine changing standards in the opera world, presumably to explain
to non-opera readers why the stereotype of overweight opera singers is no longer holding
true. The issue has also been discussed in non-opera-centric blogs, other publications,
and online forums like ask.com.
Many of the singers I interviewed spoke of and image-focus in present-day opera.
Singer 9 believed that image was important in present-day opera, and said that for current
singers “the skinnier the better.”
82
Singer 8 felt that opera’s image standards were
moving towards musical theater’s standards, which as seen in the Legally Blonde
example in the first chapter can be very specific.
83
Singer 7 felt that opera was becoming
somewhat “mass produced,” and said that singers now needed to be “pleasant to look at
80
One example being Daniel Schorn’s “Deborah Voigt: Off the Scales,” an article which
corresponds with 60 Minutes segment on the soprano and her gastric bypass in February
of 2009. CBS News, http://www.cbsnews.com/2100-18560_162-1245332.html (accessed
February 4, 2010).
81
The New York Times Well Blog has written several articles and done several video
segments on her.
82
Singer 9, interview.
83
Singer 8, interview by author, Winter 2010.
39
and to hear.”
84
Singer 4 also felt that opera was currently extremely image-focused and
felt that for some schools and opera companies, image was more important than others,
citing schools he had seen where “the singers look good and sound the same.”
85
In addition to these formal interviews general observation of singers confirmed
this trend. On several occasions, I observed singers discussing how they were adjusting
to image standards in opera. The members of one group of singers I observed were all
making adjustments to their own personal image by working out and dressing in specific
ways.
86
These singers reported working out for reasons of both health (particularly
weight loss and maintenance) and image, as working out tends to help one keep a
physique that meets present-day standards of attractiveness. Several singers discussed
how they dressed when they were performing, with many indicating they had a specific
wardrobe for performances or auditions. Further, many also felt that they needed to be
dressed semi-professionally at all times. On several occasions I also observed singers
who had lost weight or were losing weight be praised by their colleagues and teachers.
Singers first encounter image-related pressure in their undergraduate training. I
did not speak to anyone or observe any singers who encountered image related pressure
in operatic training prior to entering college, though several singers indicated
encountering image-related pressure in theater or musical theater settings prior to college.
Teachers might be hesitant to comment on image to younger singers because opera
voices take longer to mature and most opera singers generally experience success later
84
Singer 7, interview.
85
Singer 4, interview.
86
Conversation with several singers, Denver, CO, Fall 2010.
40
than pop singers or musical theater singers. Further, teachers may be waiting until
students have chosen to specialize in specific vocal fields, which generally does not occur
until undergraduate programs and can occur even later. However, it should be noted that
I did not work with any singers who had operatic success or even much operatic
experience prior to entering college. Though operatic voices tend to mature in a singer’s
mid-twenties or later, it is likely that singers who had opera experiences and/or success
prior to entering an undergraduate program would encounter image-related pressure
earlier.
Such pressure at the educational level seems to be both targeted and general, and
is experienced both publicly and privately. I use the terms “targeted” and “general” to
distinguish between feedback about a specific singer (targeted) and general discussion
about the topic. General image discussion occurs in class settings like workshops or
masterclasses. This can include lectures on appropriate dress for auditions and
performances, and general conversation about how one’s appearance can influence
casting and career opportunities. These topics are being increasingly incorporated into
educational experiences for singers, and often lead to targeted discussion. I observed one
class where singers were asked to perform for the professor and their classmates in what
they considered appropriate audition attire.
87
The class was then allowed to comment on
what the singer had chosen to wear. Comments ranged from discussion of color to
whether or not a cut was flattering for that individual. The class also weighed in on
whether or not the outfit reflected the character the singer was portraying. For example,
mezzos performing “pants roles” were generally encouraged not to wear dresses at
87
College voice major workshop, spring 2006.
41
auditions.
88
At times, the discussion would then to a broader discussion than the singer’s
outfit to other facets of their appearance. One singer was advised that her haircut made
her look “too young,” and she was told to get a shorter haircut to make her appear older.
89
The singer made changes to her haircut and received positive feedback from both the
class and the professor.
Public targeted feedback seems to be increasing, and can be both positive and
negative. Those providing feedback comment on whether a particular outfit is flattering
or distracting, and sometimes also give comment on about hairstyle and body type. I
observed one singer be told that while her performance of an aria was “beautiful…but
you’ll need to lose some weight if you want to sing the role professionally.”
90
Throughout my fieldwork I also observed several singers be told how nice their
performance was because they both looked and sounded like that particular professor’s
ideal of the character.
Students seem to receive the most targeted, private feedback from their studio
teacher.
91
One soprano told me her studio teacher had pulled her aside after a jury to tell
her she was “shaped funny” and should either learn to dress better for her shape or lose
88
Pants roles are when women portray male characters.
89
College Voice Major Workshop, Spring 2006.
90
College Voice Major Workshop, Fall 2008.
91
The majority of college vocal programs include a studio lesson requirement, where a
student is placed with a private teacher and takes weekly private lessons.
42
weight.
92
Singer 11 was also told by her studio teacher that she should lose weight.
93
Targeted feedback from studio teachers is not limited to weight, though many singers
reported either being talked to or having friends who were talked to about the subject.
Singer 6 felt that several past studio teachers had belittled her because of her height and
her age.
94
Singer 9 reported being approached by her studio teacher about changing her
clothing and not wearing her piercings.
95
Other singers also reported being encouraged to
change the way they dressed, how they wore their hair, how they wore makeup (for
women), and their facial hair (for men).
Other teachers within a vocal program also may provide targeted feedback.
Though this feedback occurs predominantly publicly in classroom settings, occasionally
students reported being approached by non-studio teachers privately about their
appearance. One student reported that a faculty member would often approach students
outside his or her own studio about how they could change their appearance.
96
Often,
students made the changes suggested by the teacher, which ranged from hairstyle to
weight loss. The students who reported following this teacher’s suggestions found that
they were more likely to get cast in school productions and picked for outside
performance opportunities. However, they did not necessarily believe that these
92
Conversation with soprano, Spring 2010. Essentially, a jury is a short performance for
the voice faculty that is graded in place of a written final for studio lessons.
93
Singer 11, interview by author, Denver, CO, Fall 2010.
94
Singer 6, interview.
95
Singer 9, interview.
96
Conversation with several singers, Fall 2010.
43
increased opportunities were entirely related to their new image. Some students believed
that this was due to their demonstrating to the faculty that they were more serious about
their opera career and thus worthy of additional singing opportunities. Others felt that
changes to their image also coincided with positive vocal changes. Though these other
factors may also have been at work, it seems likely their image played at least a minor
role in these increased opportunities.
Though the above pressures are increasing, pressure on singers at the educational
level is arguably less than at later points in a singer’s career. Many schools choose to not
make image a major focus of their program, as evidenced by their casting. One
production I witnessed had cast several overweight singers as their romantic leads, which
is becoming rare in professional productions. Racially-specific roles also present casting
challenges. Many schools choose to ignore these challenges and instead cast vocally
appropriate singers in these roles regardless of their race. I attended one production of
The Magic Flute where white singers were cast as Monastatos, who is specifically
described as being a Moor. Some schools choose to not discuss issues of image other
than appropriate audition attire. This can be for several reasons, including a belief that at
the educational level all talented singers should be given opportunities or because this
type of feedback can be problematic for younger singers to process appropriately.
Teachers at one institution I observed emphasized to their singers that overweight singers
no longer had a place in the present-day opera community. In response to this pressure,
several singers developed eating disorders. However, even with consequences as drastic
as this, image pressure on young singers is increasing.
44
Singers in the early stages of their career also experience image-related pressure
while participating in competitions. Competitions exist at a variety of levels, and through
connections made at competitions singers can find employment and other opportunities.
97
Generally, as singers become more established they participate in fewer competitions.
According to journalist Roberta Hershenson, “judges deny being influenced by any other
factors other than voice, potential, and achievement level, but a singer’s excessive weight
or annoying mannerisms are sure to be distracting.”
98
Many singers even report seeing
commentary about their image on the comment sheets provided by judges at many
competitions. One mezzo-soprano I spoke with sang for a panel of judges, all three of
which commented on how distracting her outfit was. Interestingly, she did not advance
to the next round, though I was unable to determine what, if any, role her outfit played in
her ranking. Another singer reported seeing on one comment sheet that the judge would
have preferred if her dress had completely covered her knees.
99
Some competitions, like
the Met National Council Auditions, even provide makeovers for their finalists that
include coaching on dress and hairstyle.
100
Competitions seem to focus less on a singer’s physical attributes and more on
how they present themselves. Judges are less willing to discuss how a singer’s physical
attributes impact their judging. While there were numerous anecdotal accounts of how a
97
Roberta Hershenson, “A Singer’s Diary: Judging the Competition,” Opera News 64:
no. 8 (February 2000): 17.
98
Ibid.
99
Conversation with several singers, Spring 2009.
100
Hershenson, 16.
45
singer’s dress, hairstyle, or piercings had in some way impacted a singer’s performance
in a competition, and many singers reported having judges comment on these facets of
their appearance on their comment sheets, I could not find any evidence that judgment of
singers’ physical bodies impacted competitions. In the competitions I observed, physical
size did not seem to impact the rankings, as singers with a range of body types and
weights were named as winners. However, those who advanced to the finals were all
appropriately dressed. In fact, I observed a higher percentage of overweight singers in
competition final rounds than in performances. This suggests that while there is some
image pressure on singers in competitions, the pressure is not as intense here as in other
areas of career preparation.
Throughout one’s career, a singer’s peers can also place enormous pressure on a
singer to modify his or her image. I observed one group of student singers where dieting
and dress had become almost a competition. There is a stereotype in conservatories and
music schools that one can easily identify voice majors because they are always dressed
up and wearing makeup, in contrast to the other students, whose dress is typically quite
casual in comparison. In my observation, this stereotype generally held true. Singers
would encourage each other to dress up by commenting on how great someone looked
when they did and asking if everything was “okay” if they did not. Singers would work
out and diet in groups as well. Often, singers in groups ate healthier foods than when
they were by themselves. A music student working as a waiter told me about a singer
who regularly came to the restaurant. The singer ate salads when she was at the
restaurant with her opera friends, but a pizza when she was by herself. Weight loss,
46
particularly if one is or was somewhat overweight, is commented on and praised by both
peers and teachers. Dieting and working out can be a group activity in many social
groups, but it is noteworthy that in a music school these activities do not seem to be as
integral to the social structure outside of the voice department.
Singers’ marketing packages include highly visual elements, including
promotional photographs and websites. The importance of these elements has
contributed to an increased image-related pressure. Singers start to prepare these
promotional materials in their undergraduate training. They often purchase headshots,
which are photos from their shoulders up, and other promotional photos including
headshots and full body shots. The value placed on these photos by the opera community
also contributes to the pressure on an individual singer to maintain a particular image.
One opera program I observed provided resources for students to receive coaching on
their hair, makeup, and dress prior to getting their photos taken. These photos allow
audition panels to decide if a singer fits their visual interpretation of the role. Given that
many auditions now require singers to disclose their height and weight, some singers are
including this information on their headshot as well.
As singers leave the academic setting and enter the professional world, there are a
variety of educational and performance opportunities that are designed to help bridge the
gap to the professional world, and in these contexts like at the university level, image is
becoming an increasing part of singers’ training. Young artist programs (YAPs) are one
of the most common steps between graduate training and professional career. YAPs,
which often operate under an established opera house, auditions and accepts singers they
47
believe have a future as an opera singer and provide them with additional training and
performance opportunities. In these programs, like at the university level, image is
becoming an increasing part of the training. Singers at the prestigious YAP affiliated with
Chicago Lyric Opera are expected to eat a “proper diet” and work out regularly.
101
Other
performance opportunities designed to help take a singer into the professional world also
incorporate a singer’s image. The organization Opera on Tap, which has been
establishing chapters throughout the US, presents singers performing opera arias,
ensembles, and occasionally full productions in bars in an attempt to broaden opera’s
audience. In its marketing materials, there is frequent focus on the sex appeal of both
opera plots and opera singers.
102
Singers advancing in their career increasingly participate in fully staged
productions, which also leads to increasing exposure to image standards. While singers
at the academic level participate in some productions, as previously stated academic
casting standards are less stringent than professional productions. As they move into
semi-professional and professional productions, the pool of singers auditioning is larger
and it is easier to find a vocally suitable singer who also fits a production team’s visual
expectations for a role. This aspect of present-day opera will be discussed in more detail
in the fourth chapter of this thesis.
Sometimes image-related pressure comes after the casting process is complete. In
2010, soprano Daniela Dessi was cast as the title character in Franco Zeferelli’s
production of La Traviata. Zeferelli allegedly felt Dessi was too old and too fat to
101
William Murray, Fortissimo (New York: Three Rivers Press, 2005), 29.
102
Opera on Tap, http://www.operaontap.org/colorado/ (accessed February 7, 2011).
48
accurately portray the role and commented on her age and weight throughout the
rehearsal process in front of the other cast and crew members, privately, and to the
press.
103
Dessi ultimately quit the production, threatening legal action against the well-
known director. In response to Dessi’s reaction, Zeferelli stated that he wanted his
Traviata to be “an opera for young people with young people.”
104
He also offered her a
different role that he felt was more age appropriate role, which she declined. Prior to this
incident, Zeferelli had asked soprano Katia Ricciarelli, who was cast as Desdemona in his
film production of Otello, to lose weight and stay out of the sun so she would be paler
and thinner.
105
While Zeferelli may be more outspoken than some, more directors now
seem to feel that they may comment on the appearance of their singers and how it relates
to the characters they play.
Costuming also puts image-related pressure on singers. The Voigt incident,
where Voigt was allegedly removed from a production because the production team did
not feel she would look good in the costumes, demonstrated that the costuming of a
production can allow the production team to cast singers that they feel will look best in
those costumes. Even singers who are considered attractive may feel this pressure from
the production team, knowing that they are going to be costumed a specific way. Baritone
Nathan Gunn is frequently costumed to go shirtless and soprano Natalie Dessay is
103
This feedback is almost identical to the feedback the original Violetta received.
104
Nick Pisa, “It's not over till... singer quits opera after Zeffirelli calls her a 'fat lady’,”
Daily Mail Online (January 10, 2010), http://www.dailymail.co.uk/news/article-
1241649/Singer-Daniela-Dessi-quits-opera-Franco-Zeffirelli-calls-fat-lady.html
(accessed January 9, 2011).
105
Citron, 702.
49
frequently costumed in form-fitting, sleeveless attire. I met one baritone who was
preparing for a production that would require him to take his shirt off. Though he was
not overweight, he was working out in order to appear more physically fit onstage.
The opera audience also seems to expect that physical image will be considered in
casting. When asked specifically, many operagoers I spoke with felt that a singer’s
image should not matter if he or she had a good voice. However, in casual conversation
many seemed to prefer singers who looked the part they were playing, or who at least
were attractive. I talked to a woman who had attended a production of Madame Butterfly
where the title role was double cast. She and those who she attended with hoped that the
younger, skinnier soprano would be performing on the night they saw it. Instead, the
older, overweight soprano took the stage. She said it was “comical” to watch the older,
overweight woman portray someone described as a beautiful teenager.
106
Other audience
members I spoke with had similar stories. Most seemed to find it comical when non-
conventionally attractive singers were cast in romantic leads, and further did not like
when romantic couples were not matched physically. Audiences seem to prefer singers
who are attractive, and many seem to prefer singers who visually fit their expectations for
the role.
As we have seen, opera singers are now encountering image pressure from their
teachers, peers, media, audiences, casting panels, and production staff. Though there are
disagreements on the extent to which image can impact a singer’s career, in today’s opera
climate it is difficult to claim a singer’s image has no bearing on their professional career.
106
Conversation with piano player, Fall 2011.
50
In the next chapter, I will explore the different ways singers are adapting and reacting to
this trend.
51
CHAPTER THREE: HOW SINGERS ARE REACTING
As demonstrated in the previous chapter, image-related pressure exists on singers
throughout their careers. In my research I encountered that many aspiring singers who
were not aware of opera’s focus on image until entering undergraduate study or later in
their careers. As such, they had not worked to develop their image in the same way they
worked on their technique and repertoire.
107
In working to further their careers, singers I
interviewed had to focus on their image in ways they might not have anticipated, such as
preparing a wardrobe specifically for auditions and maintaining a specific weight.
Generally, the various facets of image divide into two broad categories: changeable and
non-changeable. Changeable facets include things like dress, persona, hair and
presumably weight. Non-changeable facets include one’s height, race, and age. In this
chapter I explore how singers are reacting physically and emotionally to pressure to alter
or maintain their image.
It is interesting to note that for image facets that are changeable, women
experience more image-related pressure than men. In my fieldwork, I spoke with more
women than men who had received direct comments on their weight, hair, and other
facets of their image than men. That being said, there are arguably more aspects of
women’s image that can be changed and one finds more differing standards for women
107
As previously stated, the singers I worked with did not try to pursue an opera career
prior to the undergraduate level.
52
than for men. For example, while men typically keep their hair short, women are
expected to have short or long hair depending on their fach and the types of roles they
perform, which will be discussed later in this chapter. Dress expectations also change for
women depending on the roles they are performing or auditioning for. Women also are
expected to wear some form of makeup for auditions or recitals, while men are generally
only expected to wear makeup for a fully staged performance. Many male and female
singers I spoke with acknowledged the different types of image-related pressure
experienced by each gender. However, many felt that men were beginning to experience
the increased pressure women reported experiencing.
Singers doing crossover work in musical theater or other more popular genres
were more accustomed to maintaining a specific image. This is likely due to the already
intensive pressure on physical image within these fields, as discussed in my first chapter.
When asked if he felt that image was important in opera right now, Singer 8, who did
both musical theater and opera work, responded that “in musical theater, image is more
important. Musical theater leads are getting more attractive.”
108
Musical theater
performers I spoke with also seemed more accustomed to their look dictating which parts
they sang. I spoke with one Black mezzo, primarily a musical theater singer, who only
performed music sung by black characters in her auditions.
109
Singer 8 considered
108
Singer 8, interview.
109
Informal discussion with mezzo-soprano by the author.
53
himself a bigger guy, which he was comfortable with as he noted that, “for supporting
and character roles, you can be a bigger guy.”
110
One of the primary changeable facets the present-day opera community has
focused on is how a singer dresses. Singers follow a specific dress code for auditions and
recitals, and many also dress up for casual occasions. The Denver Lyric Opera Guild has
a compilation of many of these dress standards included in their audition hints.
111
For
women, this generally includes wearing a dress or skirt. The only occasion where it is
generally accepted for women to wear pants is if they are portraying “pants roles.” With
skirts and dresses, the hemline should be at least at the knee, and more conservative
singers and audition panels express a preference for hems below the knee. There seems
to be a preference for higher cut shirts and blouses, presumably so minimal cleavage is
showing. Looser fits are also generally preferred, because tighter fits allow audiences
and audition panels to see one’s breathing. Semi-formal or formal attire is preferred over
casual attire for both genders. Men are expected to at least wear dress pants and a
collared shirt; most expect men to wear a tie and some even expect a full suit. For both
genders, darker colors and small patterns or no pattern is preferred.
112
These standards
create a dress code that overall ensures that a singer’s clothing does not distract from his
or her performance.
110
Singer 8, interview.
111
Denver Lyric Opera Guild, “Audition Hints,”
http://denverlyricoperaguild.org/competition/audition-hints (accessed February 2, 2011).
112
Ibid.
54
These dress standards become more or less rigid depending on the situation, but
most singers try to adhere to these standards in most performance settings, including
classes, recitals, auditions, and masterclasses. It should be noted that there is generally a
difference in how a singer dresses for auditions and educational settings versus how they
dress for recitals. Recital attire is usually more formal, with men wearing suits or tuxes
and women wearing formal dresses. Recital attire for men and women can be flashier
than audition attire. For recitals it is more acceptable for brighter colors, more jewelry,
and/or more revealing clothing.
Some singers express frustration at these standards and some openly do not
adhere to them, but audition panels tend to prefer singers who dress this way. There are
anecdotes of outstanding singers who were so vocally talented they won auditions or
competitions regardless of how they presented themselves, but in my fieldwork I saw no
examples of singers who had not adhered to these dress standards winning auditions or
competitions. Based on this research, dressing appropriately seems to be just as
important as a singer singing well, and singers who do not adhere to these standards often
receive verbal or written comments from both their peers and other opera professionals.
It is rare to see singers dressed casually for performances. In one program I
observed, singers who dressed casually for weekly performance classes were often
reprimanded by faculty. Other students also would comment both to the offending
student and informally to one another about how inappropriate the singer in question had
been dressed. For more prestigious performances, one would almost never see a singer
dressed casually. And when singers are dressed casually, there is often some sort of
55
indication to the audience as to why. At Opera on Tap Colorado, for example, the singers
often perform in jeans and other casual attire. When the organizers address the audience,
they explain that the purpose of Opera on Tap is to change perceptions of opera and its
singers. To further emphasize how casual the occasion is, audience members and the
performers are encouraged to buy drinks at the bar and no programs are passed out to the
audience.
Another changeable facet is haircut and color and for men, facial hair. Singers
keep their hair in very specific ways. Generally, women are encouraged by the opera
community to wear their hair longer, unless they are primarily performing pants roles, at
which point shorter haircuts may be encouraged. Regardless of length, hair should be
kept out of their faces so that one can see their facial expressions. In academic settings
teachers often advise younger students to pin their bangs away from their face or avoid
bangs entirely, as hair in one’s face can create shadows and hide facial expression, which
are important to conveying the dramatic intentions of an aria. While these choices may
seem minor, many singers even choose specific hairstyles depending on their fach. In
casual conversations I often heard female singers say things like, “oh, I’d love short hair,
but I’m a soprano!” Shorter hair is usually more acceptable for mezzo-sopranos given the
number of male roles they can portray. Men keep their hair on the shorter side,
presumably to maintain a length more acceptable for their gender. Men also make
conscious decisions about their facial hair, depending on the role they are auditioning for
or portraying. Being clean-shaven gives the perception that a singer is younger, whereas
facial hair can indicate age or in some cases poverty. Singer 8 told me the choice to
56
shave or not shave was almost entirely contingent upon what role he was playing.
113
Both genders tend to keep their hair in natural colors, though many are willing to dye
their hair for a specific role or show.
Singers keep the rest of their appearance relatively conservative. While tattoos
and piercings, though not the norm, are somewhat common among other classical
musicians, opera singers tend to avoid them. Singers who do have tattoos or non-ear
piercings almost always have some way of hiding or minimizing them for auditions and
professional settings. I met many singers whose tattoos were small, and could be easily
covered with makeup. I also met many singers who had tattoos were in areas that are not
generally exposed, particularly in wearing conservative audition attire. For singers with
piercings, they either remove the piercings or use clear rings.
Makeup can be an important tool depending on the venue of a performance or
audition, as sometimes lighting can wash out one’s features and make facial expressions
difficult to read. Female singers generally wear conservative makeup for auditions and
performances. Female singers often use makeup to help emphasize their eyes, cheeks,
and lips. However, this makeup is usually in specific colors and applied in certain ways.
Singers often avoid lining the inside of their eyes because it can make their eyes appear
smaller. Singers also seem to avoid very bright or very dark colors. While makeup can
be an enhancement, it can also be a distraction, and many singers are weary of anything
that would distract an audience from their performance. Men generally only use makeup
when in a staged production, but I did meet a few men who used foundation during
auditions and other performances to hide blemishes.
113
Singer 8, interview.
57
As previously discussed, many singers discuss non-physical aspects of their
image like their persona when discussing how their personal image impacts their operatic
career. Singers also work to project a specific persona when they are auditioning or
performing. The ideal persona seems to be confident and professional. Singer 6 wanted
“to appear professional and like the picture of preparedness. I want to look like I put
effort into my appearance and don’t want to look like I just rolled out of bed.”
114
She
strove never to appear sloppy, and always dressed nicely even if she was not performing
or auditioning. While her clothing choices related to changeable facets of her image, it is
somewhat difficult to describe exactly how one appears professional and prepared.
Singer 5’s ideal persona was to appear “healthy, confident, and professional. [I want to
look] pretty, appealing, and appropriate. I am trying not to look too young and to be
taken seriously.”
115
It is interesting that while an appearance of youth is incorporated
into standards of conventional attractiveness, Singer 5 indicated that being too young
could also be a detriment. Singer 3 wanted to appear “put together and modest.”
116
In
addition to appearing professional and confident, Singer 2 also wanted to appear
versatile.
117
She felt that by having presenting herself “neutrally,” an audition panel
114
Singer 6, interview.
115
Singer 5, interview by author, Denver, CO, Winter 2010.
116
Singer 3, interview by author, Denver, CO, Winter 2011.
117
Singer 2, interview by author, Denver, CO, Winter 2011.
58
could see her in multiple roles, increasing the likelihood of getting cast. Singer 1 also
expressed wanting to appear confident.
118
Singers attempted to create their ideal persona in a variety of ways. Many
teachers advise students to practice both how they walk into an audition and how they
introduce themselves to a panel.
119
Walking too quickly, speaking too quietly or quickly,
and making certain facial expressions can alert an audience or panel that the singer is
nervous. Singers practiced walking slowly and also practiced walking lightly so as to not
“stomp” when they walked into an audition.
120
They practiced speaking slowly and
loudly. Singers also tried to smile when they walked into a panel and project that they
were comfortable and happy to be there. It was not uncommon for the expression “fake
it” to be used when students expressed how nervous they were. Though interviewees
found it was difficult to describe how one achieves most of these qualities, I observed a
definite consensus when a singer would perfect their walk or verbal introduction.
A facet of image that is both changeable and non-changeable is a person’s size,
which includes both their weight as well as their physical build. Individuals have limited
to no control over their actual frame, meaning that no matter what one weighs, they may
have a petite, average, or large build. Interestingly, I met no singers who were concerned
about their physical build. Some women with smaller frames briefly mentioned that
being petite was helpful for their fach, but concerns were generally limited to singers’
118
Singer 1, interview by the author, Denver, CO, Winter, 2011.
119
Generally singers introduce themselves and what they will be singing at the start of an
audition or competition.
120
Collegiate Voice Performance Seminar. Fall 2007.
59
weight. While for many non-singers, discussing one’s weight can be uncomfortable,
singers appear to be becoming more open to both discussing weight’s role in opera as
well as giving and receiving feedback on weight. Most singers that I observed were
actively working on maintaining their current weight or losing weight. It is interesting to
note, however, that while many singers I spoke to were working out or eating a specific
diet, they reported that these lifestyle modifications were not solely or even primarily
motivated by weight loss or maintenance. Many singers said they felt their bodies were
their instruments, and taking care of their bodies resulted in optimal singing. There was
also a desire for optimal health so that one had the stamina and athleticism required of
many opera staging.
I spoke with one baritone who had been overweight in college and had been
advised by a teacher that he would need to lose weight if he wanted a career. He began
working out regularly and eating a healthier diet, and consequently lost weight. When we
last spoke, he was working on maintaining his current weight. Another soprano I spoke
with had similar experiences in college. Singers whose voices were in fachs that have
typically focused less on image were also aware of their physical size and its relative
impact on their career. Singer 8 was less concerned because “tenors can be bigger guys.”
Given that tenors are often the hardest voice types to cast, Singer 8 was aware that he
could be a desirable casting choice regardless of his size. He also stated that supporting
characters could be “bigger” as well.
121
This supports the idea that for non-romantic
roles, image is less important.
121
Singer 8, interview.
60
Other singers spoke of maintaining their weight. Singer 11 reported that she was
actively working on maintaining a smaller size, as did Singer 10.
122
While these singers
were not necessarily concerned with weight loss, they were aware that their smaller
physical size was a desirable asset within their field. Singer 7 was “not currently
concerned about my body image because I’m lucky right now,” but was also aware that
her smaller size was desirable.
123
Other singers were also aware that their current body
type was desirable. Singer 6 worked out regularly, but was naturally thin. She had
observed in costume fittings that some costume departments preferred fitting smaller
girls.
124
In her most recent costume fitting, the woman costuming her had expressed
relief that she was not as large as the previous singers the woman had worked with.
Singer 5 also worked out regularly. She was concerned about her health and maintaining
a healthy weight, but also noted that working out allowed for better stamina. She also
acknowledged that it was helpful for her opera career stating “everyone is looking at
you.”
125
Singer 4 stated that, “many opera singers struggle with their weight. A lot of
them make excuses. Your body does change as you get older. I don’t want to be fat, but
I don’t want to be a body builder. I also want to be healthy.”
126
Singer 2 was also
122
Singers10, interview; Singer 11, interview.
123
Singer 7, interview.
124
Singer 6, interview.
125
Singer 5, interview.
126
Singer 4, interview.
61
working on maintaining her physical image and felt it was important to work out and eat
healthily.
127
Singer 1 also was working out, and cited wanting to be healthy.
128
Singers I spoke with in casual conversations also discussed their weight both as a
facet of their overall health and as important to their opera career. I met many singers
who were willing to openly discuss their weight loss and/or what they were doing to
maintain their current weight. Generally, singers appear to be actively working out in
some way, and making healthy eating choices. There is also much discussion about how
to work out and eat healthily while traveling for one’s career. Many suggested that part
of the weight issue in opera could be attributed to the somewhat nomadic lifestyle of an
opera singer. This issue is discussed in online forums and articles suggesting ways in
which opera professionals can maintain a healthy lifestyle while traveling. Overall,
weight loss or maintenance was not an individual decision. Most of these singers said
that someone, whether it be a teacher, coach, or mentor, had suggested that losing weight
would be beneficial to their career.
Professional singers also report losing weight or maintaining weight for their
opera careers. American soprano Renee Fleming lost weight at the beginning of her
career at the suggestion of her management.
129
Other prominent singers have also lost
weight or maintained a specific size, such as Voigt and Sadler’s previously mentioned
weight loss. Singers address not wanting to gain weight in interviews. As with aspiring
127
Singer 2, interview.
128
Singer 1, interview.
129
Renee Fleming, The Inner Voice: The Making of a Singer, (London: Viking, 2004),
198.
62
singers, prominent singers attribute this to wanting to be healthy and have the stamina for
present-day stagings as well as to looking attractive onstage.
Another facet of image that is generally unchangeable is a singer’s age, about
which many singers expressed concerns. Though one can alter how old one appears
somewhat through makeup and surgery, surgery is not a good option for singers given
how it can impede facial expression and movement. Makeup can only alter one’s age
slightly. Singers were concerned about age at both ends of the spectrum. As previously
discussed, Singer 7 was concerned about appearing too young to be taken seriously and
dressed herself to appear older and more mature.
130
Many younger singers expressed
concern that being too young could negatively impact them because their youth could
imply vocal immaturity and inexperience. Conversely, other singers were concerned
about appearing too old. Singer 6 had been told by teachers and coaches that she was
“too old” to begin an opera career.
131
This seemed to be a somewhat common concern,
and many singers seemed to try to begin careers in their twenties. Many competitions
and young artists programs, generally geared at singers beginning their careers, have an
age cutoff. The oldest cutoff I found was 36, and most competitions and YAP’s have age
cutoffs at around age 30. This prevents older singers from using these types of
opportunities to further their careers. The expectation seems to be that singers who will
be successful have begun their careers in their twenties. Singers who begin their training
later than this are often directly questioned about their plans. I met one woman in her late
30’s who was getting her undergraduate degree so she could teach, though she did have
130
Singer 7, interview.
131
Singer 6, interview.
63
some aspirations of performing. She acknowledged that beginning an opera career would
be more difficult for her given her age.
Older singers also face difficulty when they portray characters that are described
as younger, particularly in operas that require larger-voiced fachs. As the Dessi/Zeferrelli
incident demonstrated, older singers can face intense scrutiny when cast as younger
characters. The Met’s HD Broadcasts also present challenges regarding age. A 2009
broadcast of Strauss’s Der Rosenkavalier featured Christine Schäfer in the ingénue role
of Sophie. Particularly under the clarity of the HD cameras, Schäfer looked significantly
older than Fleming, who was cast as the middle-aged Marschellin. These specific
incidents highlight challenges faced by older singers when they are cast in younger roles.
While they may be vocally appropriate for the roles, in the present-day opera world there
seems to be a preference for singers who look the appropriate age, leading older singers
to be cast as older characters.
Another non-changeable facet of image is a singer’s race. Though opera has
historically been dominated by white singers, opera is becoming increasingly more
racially diverse. Race can be a complex issue in opera because several operas, including
Otello, Carmen, Madama Butterfly and Die Zauberflöte, include characters whose race is
specifically designated and/or racially driven conflicts central to the plot. It should be
noted that my fieldwork was performed with mainly white singers. The only non-white
singer I interviewed formally identified as being of Indian descent. She expressed some
concerns about how her race could impact casting, and worried she might not be cast in
any role that was part of a family unless the other singers cast in the family had similar
64
skin tones. She was also concerned that she may not be considered for other roles based
on her skin tone.
White singers rarely express similar concerns about the impact of their race on
casting. In fact, as previously demonstrated it is fairly common for white singers to be
cast in non-white roles. This can sometimes result in re-working of the original show. In
an academic production of Die Zauberflöte, for example, some of the dialogue and
supertitles were actually altered to downplay the racial slurs present in the score. More
often, however, when white singers are cast in non-white roles they are put in hair and
makeup to make them appear to be the race of the character they are portraying. Dark
eyeliner and dark makeup is often used when white singers are portraying Asian
characters, such as the characters in The Mikado or Madame Butterfly. An extreme
example of using makeup to change the race of a white singer was a 1989 Met production
of Aida. White soprano Aprile Millo played the title character, who is described as being
“dark-skinned.” She was put in makeup that almost resembled blackface, and appeared
to have a much darker skin tone in the production than her normal color (compare
Figures 4 and 5).
65
Figure 4, Aprille Millo
Figure 5
Millo as Aida
132
132
Millo as Aida,
http://www.muzon.com/index.php?mact=mutube&title=Criminal+Minds+02+Apr+2012
&title2=Aprile+Millo%3A+Verdi+-
+Aida%2C+'Ritorna+vincitor!'&v=2IqcKoOXXq8&feature=youtube_gdata_player.
(accessed April 6, 2012).
66
I have not found any examples of non-white singers being made up to appear to
be a different race. I also observed several concerts and productions where black singers
consciously pick repertoire based on the race of the character who sings it. Further, while
singers wanted to be given equal opportunity to perform all roles regardless of the
character’s race, some non-white singers seemed to want preference when it came to
casting roles for which they were the character’s race.
Another facet of image that is virtually unchangeable is a singer’s height. While
height can be altered somewhat with shoes, many singers avoid heels above 2-3” because
of how they alter one’s posture, and some avoid heels altogether. In general, women are
concerned about being too tall, while men are concerned about being too short. Singer 6,
who said she was 5’11 ½”, was concerned about being cast as a romantic lead because
most men cast in leading roles were generally shorter, and she thought it “looked bad
onstage.”
133
She felt her height would lead her to be cast in non-romantic roles or as
matronly characters. Other female singers expressed similar concerns. Women were also
concerned about being too short, however, because their short stature could also prevent
them from being cast in romantic roles. I met one soprano who felt that her height made
her look more like someone’s child rather than someone’s love interest onstage, and felt
that that might hinder her opportunities. Men were less open in expressing concerns
about their height, but several commented that it was awkward when they were cast in a
romantic role opposite a woman much taller than themselves.
Most singers I spoke to stated that they were willing to make at least minor
changes to their appearance for their opera career, primarily discussing temporary
133
Singer 6, interview.
67
changes to hair. Singer 10 had dyed her hair red to portray Anne of Green Gables, and
was willing to make other minor, non-permanent changes.
134
Other singers were also
willing to make minor, non-permanent changes. Singer 8 was willing to make minor
changes for a role, but wanted to know how the change would further the drama and did
not want to make any permanent changes.
135
Singers 7, 1, and 6 were both also willing to
make minor changes, but would not do anything “drastic.”
136
Drastic changes seemed to
include things like tattoos, piercings, and extreme physical changes. However, Singer 6
did note that she might be willing to make drastic changes if she was offered additional
money. Singer 5 agreed that she would not make any “drastic” changes, such as a tattoo,
but would be willing to consider minor changes if she agreed with the change.
137
For her,
it was important to trust her judgment. The motivation for making physical changes was
important for many singers. Singer 8 felt that it would be important for any minor
changes in appearance to be related to the character.
138
Other singers stressed that
changes to their appearance would probably be contingent upon whether or not they
agreed with the suggested change, and whether the change was for a specific role or to
further their career.
Though most singers made minor changes, some singers made drastic changes to
enhance their opera career. One tenor I spoke with had concerns about facial hair making
134
Singer 10, interview.
135
Singer 8, interview.
136
Singer 7, 1, and 6, interviews.
137
Singer 5, interview.
138
Singer 8, interview.
68
him appear older, and opted to have his facial hair permanently removed via laser. Voigt
opted for weight loss surgery, which carries more risks than traditional weight loss via
diet and exercise. Another singer had overhauled her appearance, changing her mode of
dress and public personality drastically in order to appear more compatible with the opera
community. While extreme changes are not the norm, they are increasing as image-
related pressure increases. In my next chapter I will explore how the pressure on singers’
images and their reactions to this pressure is impacting singers, their careers, and the
opera community.
69
CHAPTER FOUR: IMPACTS ON SINGERS AND THE OPERA COMMUNITY
In the previous chapters, I provided evidence to support that a singer’s physical
image now plays a prominent role in his or her career and also demonstrated that the
majority of opera singers are aware of new image standards and are actively conforming
to them. While vocal talent alone can allow a singer some initial success, particularly in
the academic and competition circuit, to succeed past this level and achieve an opera
career, singers now must have both vocal talent and a physical appearance that is
acceptable within these new standards. In this chapter, I will explore the impact this
focus on a singer’s physical image has on individual singers as well as the larger opera
community.
Many operatic characters have at least a minimal description of their appearance,
whether that description is found within the characters’ dialogue or if one has been
included in notes with the score. Some of these descriptions are even implied, such as a
character’s age being implied by his or her relationship to other characters or their race
being implied by the geographic region of the opera. Many of these descriptions are
quite vague, such as the chorus in the first act describing as the title character in Puccini’s
opera Turandot as “la bella Turandot,” meaning “the beautiful Turandot.”
139
It is quite
common for romantic leads to be described as physically attractive.
139
Giacomo Puccini, Turandot, (Milan: Casi Ricordi, 1926), 35.
70
In addition to cues within the works themselves about how the characters should
look, production teams may have their own interpretation of how specific characters
should look, or how specific characters will be costumed. Voigt’s firing from Covent
Garden, for example, was not just because she was overweight, but because they felt she
would not look good in the black dress they wanted her character to wear. Further,
casting panels may be considering how singers will look as a group onstage. I saw one
set of callbacks for an undergraduate level production where there they were casting a
group of children and their teacher. The production team had the singers called back for
these roles perform in a variety of configurations, and also had the singers stand in
specific arrangements. This was likely to both hear how the different singers sounded
together as well as see how they looked together onstage. Ultimately, the three singers
who looked the youngest and were the shortest were cast as children, while two singers
who were taller and looked older were double-cast in the role of the teacher. Similar
considerations are likely made for singers who are being considered to be cast in a group
of characters that are family, or to see how romantic couples look together.
Though the preference now seems to be for singers who suit the roles visually as
well as vocally, this is easier to do within some fachs than others. As Blier notes, it is
easier to cast based on visual standards among lighter, lyric voices, particularly those
common to Mozart and modern opera roles.
140
This is likely due to both the abundance
of these voice types, as well as the age of many of the singers in these fachs. The lighter,
lyric voices are arguably the most common within opera. Therefore, casting panels
auditioning these roles presumably have many vocally qualified singers at their disposal,
140
Blier,16.
71
and can afford to make decisions based on physical as well as vocal qualities. These
voice types are even more common among younger singers. While some singers
maintain a lighter voice throughout their career, many singers experience vocal changes
as they age that result in moving to larger-voiced fachs. In a singer’s vocal education, it
is common for singers to be told to put larger-voiced repertoire away for several years
until their voices grow into it. These singers perform lighter-voiced roles until their
voices are appropriate for other roles. Consequently, audition panels looking cast lighter-
voiced roles have both singers who are actually these fachs and those temporarily in these
fachs to cast from. As there are proportionately more younger singers within the lighter
fachs, and many of the present-day standards of beauty are related to youth, casting
panels have better odds that they will find a vocally suitable singer for a lighter fach who
also fits their desired look for the character.
In contrast, larger voices are less common. Singers who possess larger voices
often reach their vocal prime later than lighter voice types, leading to proportionately
more older singers in these fachs. Given the fewer singers within these fachs as well as
the older average age of these singers, casting panels may not be able to find vocally
appropriate singers who also possess their desired physical characteristics. Consequently,
in harder to cast repertoire, a singer’s image seems to matter less.
141
For example in
romantic and early twentieth century works, which tend to require larger voices, larger
singers still remain somewhat acceptable.
142
While there are some singers within the
larger fachs who would also be considered conventionally attractive, in many instances
141
Blier, 16.
142
Ibid, 15.
72
casting panels may be forced to compromise either their visual or vocal expectations
while casting.
As stated previously, many audition panels ask singers to provide head shots and
divulge their height and weight. Though some have indicated that this information is to
assist in costuming a production, it is hard to deny that this information also has the
potential to be used to assist panels in casting singers that fit their visual
conceptualization of the role. Some opera auditions are now even asking for singers that
fit specific physical characterizations. The SoBe Institute of the Arts in Miami Beach,
Florida, recently posted an audition announcement for the role of Ophelia in a new
production of Hamlet. They only wanted to hear singers younger than 34, who were
between 5’4”-5’9,” and under 140 pounds. Audition notices with this type of specificity
are becoming more common. As seen in the second chapter, image-based casting is
occurring beginning at the undergraduate level and continues into a singer’s professional
career.
Additionally, teachers and coaches are attempting to predict what roles a singer
may perform later in his or her career based on a singer’s physical appearance, and they
are choosing repertoire based on these assumptions.
143
In the course of my fieldwork, I
was told about several overweight singers who were being guided to sing character roles
or minor leads even when they were more vocally appropriate for romantic leads.
Conversely, conventionally attractive singers were being guided to sing repertoire that
they may not be vocally appropriate for based on the assumption that they would be
143
Blier, 14.
73
asked to sing romantic leads based on their appearance. Thus, the vocal education for
many singers is now being directly impacted by their appearance.
The focus on image in opera has also impacted how productions and individual
singers are marketed. Image is also playing a role in how many singers are marketing
themselves. Particularly with the emergence of websites for individual singers, photos
have become an increasingly important marketing tool. In addition to headshots, many
singers also have a variety of professional photos that they use as part of their marketing
packages.
144
These shots often feature the singer in a variety of locations, and include
various poses. They also often include both close-ups and full body shots. Interestingly,
in non-headshot photos, many singers seem to be more casual and less conservative in
their attire than would be acceptable within an audition setting. There are photos of them
in formal recital dresses; however, frequently, female singers wear brighter colors, more
jewelry, and lower cut tops. Men’s full body photos are arguably less “sexy” but often
feature more casual attire than would be acceptable within an audition setting.
As Blier has observed, marketing for opera has become an increasingly visual
campaign, in which image-driven marketing is used when marketing specific productions
and even entire opera companies.
145
Production shots have always been used to market
specific productions. However, in recent years, these shots have become more focused
on “attractive” images, sometimes to the point of visually downplaying the leading
singers in the marketing. English National Opera recently featured overweight soprano
Jane Eaglen in a production, but the marketing materials featured a post-weight loss
144
Madison, William V. “Solo Strategy,” Opera News 73:7 (January 2009): 28.
145
Blier,16.
74
Maria Callas.
146
The Met HD Series is also marketed this way. Many of the recent
seasons have included a variety of prominent singers. However, the most featured singer
in many of the marketing materials is soprano Anna Netrebko, who is known for both her
vocal and physical beauty, though she was only featured in one production per season.
Some of the Met productions do not even feature the singers themselves in their
marketing. In the marketing materials for the 2009-2010’s season broadcast of Aida, it
was more common to see photos and video footage of the dancers, stage, and
supernumeraries than it was to see close-ups of the overweight lead singers. The primary
marketing poster featured a wide shot of the entire stage with the entire cast visible (see
figure 9). In contrast, the poster for the 2008-2009 season broadcast of Lucia di
Lammermoor featured a close-up shot of Netrebko, who was singing the title role (see
figure 10). Marketing practices seem to indicate that it has become an accepted norm to
focus on “pretty” singers in such ad campaigns.
147
146
Michael White, “Do sexy opera singers sound the swansong for the fat lady?,”
Telegraph August 17, 2009,
http://www.telegraph.co.uk/culture/music/opera/6041399/Do-sexy-opera-singers-sound-
the-swansong-for-the-fat-lady.html (accessed March 30, 2012).
147
Blier, 16.
75
Figure 9
148
Figure 7
149
148
Advertising Poster of Met Opera’s Aida, http://movies.msn.com/movies/movie/the-
metropolitan-opera-aida/ (accessed April 7, 2012).
149
Advertising Poster of Met Opera’s Lucia di Lammermoor, http://anna-
netrebko.blogspot.com/2008/11/metropolitan-opera-hd-live-lucia-di.html (accessed April
7, 2012).
76
A singer’s physical image seems to have the most impact on their career when
they are auditioning for fully staged productions. As previously stated, in competitions
and concert settings, a singer’s physical image seems to matter less. As one judge stated
“I never had a winner who suffered because of the way they looked or dressed.”
150
I
observed the performance of an overweight mezzo-soprano who was named one of the
Metropolitan Opera Competition Finalists in 2012. Her weight certainly did not impact
her performance. Interestingly, though, image can have an impact on singers who are not
among the top vocalists in a given competition, even when they are not auditioning for
fully staged productions. It almost appeared as though not possessing an adequate voice
opened a gateway to receiving criticism on other aspects of one’s performance, such as
their physical appearance and presentation. Great singers can succeed outside of fully
staged operatic productions regardless of their physical image. However, singers who
want to succeed specifically in operatic productions seemed to fare better when they fit
within present-day conventions of attractiveness and further fared better when they fit
what a production team wanted the character to look like. In observing singers leaving
the academic level and embarking on professional careers, those who had the highest
level of success in winning roles were those who would be considered physically
attractive in addition to being vocally talented.
Image-driven casting has many potential negative impacts. However, though
image-driven casting and marketing continues to impacts many singers as they advance
in their careers, some prominent singers have been relatively unaffected. Tenor Placido
Domingo has been somewhat overweight and is 71 at the time of this writing. However,
150
Hershenson, 17.
77
his weight and age have not inhibited his success and he continues to have a successful
performing career. Younger singers soprano Jane Eaglen and tenor Ben Heppner are also
overweight, but have also been cast in leading roles in major houses. While these singers
continue to be cast in leading roles, reviews and audience reactions to their performances
frequently comment on their appearance. One audience member I talked to recalled
seeing Ben Heppner in a performance of Wagner’s Ring Cycle, and described the
audience as being visibly and audibly shocked at Heppner’s size. I have not encountered
any discussion of Eaglen where her weight is not at least mentioned, if not the focal
point. At the time of this writing these singers are still overweight and continue to be
cast, though Eaglen is performing less frequently and seems to be focusing more on
teaching. Regardless, for these three singers, their image does not seem to have been
detrimental to their careers.
In addition to some singer’s careers remaining relatively unaffected by present-
day image standards in opera, these standards are actually having a positive impact on
some singers. Many physically attractive singers who are also vocally strong are
applauded for both their looks and their voice. Reviews of Renee Fleming, Natalie
Dessay, Anna Netrebko, Juan Diego Florez, and Nathan Gunn, among others, all mention
their physical appearance in a positive way. All these singers are also frequently
costumed in ways that showcase their physical appearance. For gala performances,
Fleming is frequently costumed by high-end fashion designers. Gunn is often shirtless.
Both Netrebko and Dessay frequently wear revealing gowns.
78
Physically attractive singers can also have their image lead to increased exposure
and marketing. As previously stated, marketing for productions tends to favor attractive
singers, leading to a higher presence of their photos in marketing materials. Sites like
barihunks and recurring features like Operagasm’s “For your viewing pleasure” allow
attractive singers to be featured and promoted more than their less attractive counterparts.
This leads to more of the opera-consuming public being familiar with them, and can then
lead to demand for their casting. Collaborations with other arts, like the Met’s
collaborations with high-end fashion designers, also seem to favor more attractive
singers. Being physically attractive can be an advantage that leads to more opportunities
for exposure, which can be crucial in trying to establish a career.
Based on my research, singers seem to be reacting in one of three ways to these
trends. Some singers react negatively, some positively, and some respond fairly neutrally
but still comply with the standards. Some singers expressed frustration that operatic
casting was becoming so image-driven. Singer 6 felt that directors had a responsibility to
cast on factors beyond a singer’s appearance, and that opera should only be about the
music.
151
Singer 9 did not agree with the importance of image in present-day operatic
performances, and felt “it should be about the music.”
152
Singer 4 expressed a concern
that “[the image-focus] can lead to singers without the goods being cast.”
153
Others had
concern about the use of physical image in marketing. Singer 10 felt that it was
151
Singer 6, interview.
152
Singer 9, interview.
153
Singer 4, interview.
79
“unethical” for singers to use beauty and sexuality to market themselves and said, “it
should be about the voice, not the cleavage.”
154
In contrast to these negative reactions, other singers see the positive potential in
image-focused marketing and casting. Some singers spoke of the potential to reach
audiences through the physical image of singers. Singer 3 felt that “singers want to
appeal to the masses, and [the image-focus within present-day opera] is a way to attract
audiences who value appearance. It’s a tool to recruit fans.”
155
Singer 2 felt that the
image-focus “was a saving factor. People need to see that the stereotypes about fat opera
singers are not true. And most of the roles within opera call for a physically appealing
singer.”
156
Singer 8 felt that it was “normal for singers to market themselves based on
what they looked like. There’s an influence of popular media on how opera is
marketed.”
157
Many singers expressed a desire for balance between image and vocal talent.
Singer 3 was “fine” with singers using beauty and sexuality in marketing materials,
provided there the singer was “talented and taking care of their voice.”
158
Singer 1 felt
that using beauty and sexuality in marketing materials,
“helped to reach a broader audience, especially those familiar with popular music,
but you have to tread carefully. Image is associated with a character, and how
154
Singer 10, interview.
155
Singer 3, interview.
156
Singer 2, interview.
157
Singer 8, interview.
158
Singer 3, interview.
80
you want to represent a character, but it’s important to still have the right voice
for that character.”
159
Singer 5 felt “within a certain extent, it’s not a problem. It’s important to stay classy and
not go to far with using sexuality to market yourself.”
160
Singer 6 felt that it was
important for singers “to use every tool that we have, whether that’s curly hair or red
lipstick or whatever, but directors shouldn’t cast based on this, it should be about the
music.” Most singers did not seem opposed to casting based on image provided vocal
talent was of at least equal importance. In fact, as seen in the previous chapter, many
singers are willing and/or have already made changes to their image, and therefore are
actively supporting this trend.
Interestingly, the group that seemed to be the most opposed to casting and
marketing based on physical characteristics seemed to be opera audiences and those with
no affiliation with opera whatsoever. In the course of my fieldwork, I met many
individuals who had never seen or listened to opera, but felt that it was incredibly unfair
for opera singers to be judged based on their appearance in addition to their voice. Many
also cited the stereotype that opera singers “had” to be overweight. Many of the opera
audience members that I interacted with were also opposed to casting based on physical
characteristics. Their concerns were primarily related to the casting of attractive, vocally
inappropriate singers over singers who were vocally but not visually suitable for a
specific productions interpretation. There are also concerns that the focus on physically
attractive singers will cause there to be fewer large voices in the opera field.
159
Singer 1, interview.
160
Singer 5, interview.
81
Opera audiences, professionals, and singers have expressed some concern that
extreme physical changes will cause voices to be negatively impacted, particularly by
extreme weight loss. Maria Callas is often cited as a cautionary tale. She lost a
significant amount of weight, which helped propel her career, but her voice became
dramatically worse after this. Some critics also feel that Deborah Voigt’s voice is not as
good as it was pre-gastric bypass.
In my own analysis of Voigt pre and post-surgery, I did not hear a significant
decrease in the quality of her voice. However, it should be noted that it is somewhat
difficult to do a comparative analysis of Voigt, particularly given that for any singer the
voice may vary from performance to performance. Further, the sound quality of live
performances may differ drastically from studio recordings. Further complicating the
matter is that Voigt made significantly more commercial recordings prior to her surgery
than she did after, and she has not recorded any of the same works pre- and post-surgery.
In order to attempt a comparative analysis of her voice pre and post surgery, I listened to
several of the available recordings both through Naxos and Youtube. Pre-surgery, Voigt
had a large dramatic soprano voice, powerful enough to carry over a Wagnerian-sized
orchestra. The voice sounded rich and full throughout her range, with an even, free
vibrato. The voice sounds supported throughout. In the recordings that I listened to, I
heard many of these similar qualities in her post-weight loss recordings. I actually could
not tell a significant difference between Voigt’s voice pre and post-weight loss, though
there are some subtle changes in the later recordings.
82
While there are reviewers who feel Voigt’s voice has diminished in quality, many
critics describe her voice in similar language as used in reviews pre-surgery. Reviews of
her pre-surgery performance 2001-2003 performances as the Empress in Die Frau Ohne
Schatten at the Metropolitan Opera, for example, stated that her voice “gleams brilliantly
from bottom to shining top” and also described it as having “unfailingly lustrous tone,
endless stamina and fine expressive restraint.”
161
Reviews of her post-surgery
performance of the title character in Salome in 2007 spoke of her performance in similar
terms. Reviewer Tim Smith stated:
“She sounded radiant, too, her voice confidently riding the orchestral crest and
penetrating to the musical heart of the matter. In almost all cases, top notes were
not just secure, but gleaming, while intimate moments in the opera inspired
beautifully shaded phrasing.”
162
While extreme weight loss does not appear to necessarily cause vocal issues, both
Voigt and soprano Indra Thomas have both noted that the weight loss led to changes in
vocal technique. Voigt has described vocal adjustments she has had to make to
compensate for the lack of mass she had been singing against.
163
Her previous weight
created pressure that her diaphragm had to work against in order to inhale, and after her
weight loss that pressure would not be there. Indra Thomas had a less invasive weight
loss surgery (sleeve gastrectomy, commonly known as stomach stapling) in 2009, and
also reported having to make slight adjustments to her technique. However, neither
161
Robert Levine, Classics Today, November 19, 2003; Financial Times, Dec 17, 2003.
162
Baltimore Sun, January 20, 2007 [Tim Smith] Voigt sizzles in a hot ‘Salome.’
163
David Mermelstein, “A Voice of Silver and Steel,” Wall Street Journal
http://online.wsj.com/article/SB10001424052748703493504576007342124963856.html
(accessed April 4, 2012).
83
singer has publicly acknowledged that the surgery had any negative impact on her voice.
Thomas even noted a positive change, that she had an easier time singing through her
passagio (the place where the vocal register shifts).
164
Both singers reported the surgery
having a positive impact on their career. Thomas noted that she felt more comfortable
onstage.
165
Voigt has made similar comments, and also noted that she was being cast in
more romantic leads, such as Tosca.
166
A singer who loses weight through lifestyle changes rather than surgical means
likely has a different experience of how weight loss impacts his or her voice. This is
likely related to the length of time one loses weight with surgery as opposed to lifestyle
changes. Surgery generally leads to rapid weight loss results, whereas lifestyle changes
cause singers to lose weight more gradually. Singers who lose weight gradually would
be able to make any necessary technique adjustments over time, whereas singers who
lose a significant amount of weight quickly would have to adjust faster. Even though
Thomas chose to lose weight via surgery, she also spoke of wanting time for her body to
adjust to its new size. She stated,
“Because of what I do for a living, I have to go down very, very slowly, because I
have to retrain my body and my muscles to work for me, because that's what I use
to sing with. This surgery takes you down slowly. With bypass surgery, people go
down very fast. For an opera singer, that could be devastating to your system.”
167
164
John Fleming, “Opera star Indra Thomas, like Deborah Voigt, loses pounds after
weight-loss surgery,” Tampa Bay Times, March 11, 2012.
165
Ibid.
166
Anthony Tommasini, “With Surgery, Soprano Sheds a Brünnhilde Body,” New York
Times, March 27, 2005.
167
Fleming, John.
84
Though my own research suggests that extreme weight loss via surgery does not
necessarily negatively impact the voice, these types of concerns remain. Each singer will
likely have a different experience. It is also important to remember that a variety of
factors can lead to perceived and actual vocal change. Callas, for example, had a voice
that was not considered to be of the same caliber as her colleagues, but became famous
by capitalizing on the skills she did have, maneuvering into high society, and creating a
persona that the public notice. It appears that the public complaints about her voice
increased after her weight loss because she became more famous after her weight loss,
but there was not necessarily a significant vocal change. In Voigt’s case, after her weight
loss she began tackling roles that she had not previously performed, and these roles may
have highlighted different vocal qualities. It is also important to remember that voices
change with age. Further, Wapnick et al’s research implies that one’s physical
appearance may compromise the ability of an audience or reviewer to listen with an
objective ear.
168
Given the negative reactions of some critics and audience members to
the idea of singers having to conform to any sort of image standards, it may not be
possible for some to listen objectively to singers post-weight loss.
Weight loss is perhaps the most dramatic potential change a singer would make
for his or her career. While plastic surgery could assist in making a singer appear
younger or more conventionally attractive, I did not encounter any singers who had these
types of surgical procedures. This is likely due to both financial strains as well as the
way surgery to the face and neck could inhibit singing. For example Botox injections,
which reduce the appearance of fine lines and wrinkles, create some facial paralysis. Any
168
Wapnick et al’s three previously cited studies.
85
facial paralysis could hinder singing by both making enunciation difficult and impeding
dramatic expression through facial expression.
Given that most singers who have made any sort of significant change to their
appearance have not had their voices impacted significantly, as well as the abundance of
vocally talented singers who are considered conventionally attractive, my research
concludes that the assumption of audiences and critics that opera’s image focus will ruin
voices or eliminate quality voices seems to be mostly unfounded. However, the image
focus has the potential to negatively impact opera, and in some ways already has. Indeed,
as discussed previously some singers are being guided to repertoire based on their
physical appearance. If this repertoire is not appropriate for their voice, their
performance could be subpar, and could even be vocally damaging over time. This trend
also can and has led to singers being cast primarily based on their looks, rather than their
voice. While they may look good onstage, common complaints about singers that only
look the part rather than sound the part include complaints about vocal quality as well as
vocal size. Meanwhile, vocally strong singers who do not fit within the new image
standards (including those who chose to not conform as well as those who for whatever
reason cannot conform) are less able to have a sustainable operatic career. Vocally
talented singers are also leaving the opera field because of these image standards. One
former music graduate student told me about several graduate students within her
program who left the school due to the frequency and severity of comments about their
physical image. Other singers have also left the opera field when they were told they
needed to make drastic changes to their appearance if they wanted a career.
86
Even within the pool of talented singers that fit within present-day opera’s image
standards, realistic casting can still become problematic. Many opera characters,
particularly romantic leads, are described as being young, often as young as teenagers.
However, particularly in the larger fachs voices can take until a singer is in their mid-
thirties or even later to mature. Though a casting panel could likely find an attractive
singer to sing the part, it is unlikely that they could find a singer that looked the actual
age of the character. It sometimes can be difficult to find a singer who is or looks like the
actual race of the character, particularly in roles that call for non-white singers, such as
Aida, the Japanese characters in Madame Butterfly, and the Arabic characters in Death of
Klinghoffer. Further, as there are increasing new operas being written that are based on
current and relatively recent events such as Nixon in China and Anna Nicole Smith,
audiences will likely have a preconceived notion of what characters look like, creating
further difficulties in casting.
The new focus on image has the potential to impact the opera community
negatively in various ways, including vocal damage from rapid weight loss or
inappropriate repertoire and the loss of great voices either due to exclusion based on
image standards or singers leaving the field due to these standards. However, there is not
enough evidence to conclude that weight loss leads to vocal detriment. There is also not
enough evidence to conclude that a majority of singers are being guided to inappropriate
repertoire. Further, there remain many talented singers within the opera field, so while
some singers are leaving, that does not seem to have created a lack of talent in opera. In
87
my final chapter, I will draw conclusions, offer areas for future research, and analyze my
research methodology and how that may have impacted my findings.
88
CHAPTER FIVE: CONCLUSIONS, AREAS FOR FUTURE RESEARCH,
RELATED ETHNOMUSICOLOGICAL WORK, AND REFLECTIONS ON
FIELDWORK
Conclusions
Though concerns have been raised about the already occurring and potential
consequences of opera’s new focus on physical image, it seems likely that this trend will
continue. This is largely due to the willingness of singers to fit within new image
standards. In addition to a willingness to follow industry dress codes for auditions,
recitals, and other performances, my fieldwork indicates that singers are further willing to
keep their hair, makeup, and other facets of their presentation within the desired
conservative standards. Further, singers are actively maintaining lower weights and
formerly overweight singers are striving to lose weight. This has led to an increasing
number of singers in all fachs who fit within Western standards of conventional
attractiveness, allowing casting panels to choose singers who fit their visual as well as
vocal expectations for various roles. The abundance of singers who are willing to adapt to
new standards, as well as the growing absence of singers not willing to comply, allows
opera to increasingly implement these standards on the casting process.
There also seems to be a positive reaction to productions in which casting is based
on vocal and visual qualities. Reviewers do not seem to enjoy when vocal talent is
89
sacrificed for visual reasons, such as critic Alex Ross’s reaction to the casting of Elina
Garanca as Carmen at the Met in 2009. Of her performance, he said,
“Although Elina Garanca made for a visually captivating Carmen, seducing the
males not only with her figure but with her darting eyes, the grain of her voice—
creamy, precise, a touch small, finely projected—was wrong for the part, which
needs an edgier, smokier timbre.”
169
While he did not think she was a bad singer, he felt that her voice was not suitable for the
role. Other critics have similar reactions when they feel vocal quality has been sacrificed
for visual purposes. However, reviewers seem to go out of their way to acknowledge
when a production’s cast meets their visual and vocal expectations of a role. Much of the
post-surgery reviews of Voigt acknowledge her new figure favorably. Reviews of other
attractive singers, such as reviews of Persson, Gunn, Dessay, Diego Florez, also speak
favorably of their physical image. A review of Voigt in Salome in 2006, for example,
described her as “Dressed in red wig and flowing gown, she has never looked so lithe and
graceful.”
170
This particular review goes on to discuss her “velvety glorious voice,
soaring thrillingly at all the key moments.”
171
Evidence suggests audiences also react positively to productions in which the
roles are cast in visually realistic ways. In addition to Wapnick et al’s work that
demonstrated that being physically attractive can cause an adjudicator to react more
favorably to a performance, anecdotal evidence suggests that audiences prefer when
169
Ross.
170
Robert Hilferty, “Deborah Voigt Shimmies, Thrills in `Salome' at Chicago Lyric,”
Bloomberg News October 23, 2006,
http://www.bloomberg.com/apps/news?pid=newsarchive&sid=aHZ48QuZotbM,
accessed April 4, 2012.
171
Ibid.
90
singers meet visual expectations for the role. Though most audience members I
interacted with stressed that they wanted to hear singers with good voices, many also
seemed to enjoy a performance more when the singer was presented in a visually realistic
way.
As examined in chapter 4, there are some negative consequences of the image-
focus that are already occurring, in addition to some potentially negative consequences.
These include but are not limited to the exclusion of great operatic voices, the potential
negative impact on voices when students are guided to repertoire only based on their
physical qualities rather than their vocal qualities, and more dramatic consequences, such
as the potential for singers to develop eating disorders while striving to meet opera’s new
image standards. However, there are potential positive consequences to this new image
focus as well. Image-focused casting may help to attract present-day audiences. Present-
day audiences seem to enjoy this type of casting, which may increase regular opera
attendance. Another positive potential outcome is a decrease in health problems linked
with obesity among opera singers. As the trend continues, there will likely be additional
positive and negative consequences for the opera community that warrant further study.
Areas for Future Research
As stated in the beginning of this project, Western opera’s image focus remains a
relatively unstudied area. However, as this trend seems likely to continue, there are a
variety of areas that warrant additional study. For example, though science does not
91
support the link between physical weight and vocal size, and though there are singers
who have demonstrated that their voice is not hindered by their physical size, an
authoritative study demonstrating whether or not there is any link between physical size
and operatic vocal traits has to my knowledge not been undertaken and would be useful.
This could be accomplished by studying both the vocal quality and composition of vocal
mechanism in singers of different body compositions in the same fachs to see what, if
any, links exist.
It would also be valuable to study the actual effects of weight loss on the voice.
Though I did not encounter any in my research, it is possible that some singers may have
vocal difficulties related to weight loss. However, most singers seem to lose weight
without major vocal problems and with only minor adjustments to their technique. It
would be useful to the opera community at large to study what actual impacts on the
voice occur from weight loss, what other factors alleviate or contribute to the level of
impact weight loss can have, and the safest way for opera singers to lose weight without
facing major vocal consequences. This could be accomplished by researchers gathering a
group of singers who are actively trying to lose weight, preferably a group that is losing
weight through different methods. The singers should journal their activities and food
intake and their vocal cords should be examined through the use of laryngoscopy several
times throughout their weight loss process. This could allow a clearer picture as to what
impact, if any, weight loss has on the voice.
It would also be interesting to determine if there are any actual links between
vocal size and physical size. The careers of specific singers suggest there is no link
92
between the two, such as Wagnerian singer Annalena Persson who is physically smaller
and still possesses a large instrument. However, there is also anecdotal evidence that
demonstrates there may be some link, such as the number of larger singers in larger-
voiced fachs. There is currently no definitive answer as to whether or not a link actually
exists. An examination of this possible link could be accomplished by studying the
larynx and whether there are any actual links to laryngeal structure and physical structure.
My hypothesis is that there is no actual link between the two, and the prevalence of larger
singers in larger fachs can be attributed to lingering stereotypes, however, it would be
useful to have definitive proof of whether or not an actual link exists.
As this trend persists, it would also be important to study whether or not singers
are developing eating disorders or experiencing other negative mental health
consequences. In other fields where image is emphasized, such as dance and movie and
television acting, there is both anecdotal and scientific evidence to suggest that there is a
higher prevalence of eating disorders. Further, operatic training begins at the collegiate
level, where there is also a statistically higher prevalence of eating disorders. It would be
valuable to try to measure and track the prevalence of eating disorders within opera
currently. However, it would be difficult to study, as those suffering eating disorders
generally do not make them public. Further, this type of study has the potential to
negatively contribute to someone’s mental health and would need to be undertaken in
collaboration with mental health professionals. In addition to academic study of eating
disorders within opera, it would be important to educate voice teachers, coaches, and
other opera professionals about the warning signs of eating disorders so they can monitor
93
their students and be aware if any student was developing an eating disorder.
Given that weight is the biggest shift and one of the most easily studied, it seems
likely that many future studies will and should focus on weight. However, it would also
be valuable to track the experiences of non-white opera singers. The emphasis on
realistic casting has the potential to further limit opportunities for minority opera singers,
though it may also lead to a call for minority singers in roles that are specifically
described as Asian, Black, Arab, etc. Though my fieldwork did not occur in an ethnically
diverse community, it would be useful to examine the casting within major opera houses
to see when and where minority singers are included. It would be also valuable to
examine if the emphasis on realistic casting results in a decrease in white singers cast the
roles of characters described as minorities.
Related Ethnomusicological Work
I performed this project as the advisee of an ethnomusicologist, and would
consider this work to be ethnomusicological in nature. However, by some of the previous
assumptions within ethnomusicology, one could contest that my work does not fit within
the discipline. For example, one definition of ethnomusicology defines it as the study of
a musical tradition of a cultural other. But, as Bruno Nettl acknowledges in the first
chapter of the 2005 updated edition of his book The Study of Ethnomusicology (originally
published in 1983), it “is difficult to find a single, simple definition, to which most people
94
in this field would subscribe.”
172
Generally, ethnomusicological work seems to focus on
music and its cultural context and include fieldwork. Although my project privileges
analysis of cultural issues over musical analysis, musical analysis is necessary in order to
explore if and how operatic voices are changing due to this trend, and to analyze vocal
trends in present-day culture to attempt to understand present-day conceptions of vocal
beauty.
Though much ethnomusicological work has been performed on non-Western
traditions, there are important ethnomusicological projects studying Western culture.
Perhaps the most famous example is Henry Kingsbury’s ethnography of a Western
conservatory, Of Music, Talent, and Performance: A Conservatory Cultural System.
173
In 1988, Kingsbury performed fieldwork in a conservatory and wrote about his
observations in language that previously had been reserved for describing non-Western
musicians. Nettl also published a book on Western conservatories, Heartland
Excursions.
174
My project joins the relatively new and small subsection of
ethnomusicology beginning to explore cultural issues within Western music. As
previously stated, throughout my period of fieldwork my MM studies and my
performance activities gave me an insider status within the opera community.
172
Bruno Nettl, “Defining Ethnomusicology,” The Study of Ethnomusicology
(Champaign: University of Illinois Press, 1983), 4.
173
Henry Kingsbury, Music, Talent, and Performance: A Conservatory Cultural System
(Philidelphia:Temple University Press, 1988).
174
Nettl, Heartland Excursions (Champaign: University of Illinois Press, 1995).
95
Reflections on Fieldwork
My interest in the topic for this thesis was both personal and practical. In my
singing career, my physical image has directly impacted my experiences. At the
suggestion of several teachers, prior to my senior year of college I lost a significant
amount of weight, changed my hairstyle, and changed how I dressed. During my last
year of college, I was cast in more roles than I had in the previous three years of my
education combined, and I was also for the first time asked to perform for the college’s
donors. In my post-collegiate career, I have both won and lost parts based on my
appearance. Having observed other singers have similar experiences, I was curious for
some time to learn more about the role image plays for present-day singers.
From a practical perspective, I was drawn to this research because it could be
performed in a completely accessible community with limited or no travel, important
aspects given the financial and time constraints I was facing as I undertook my final
project within this degree. My insider status also gave me increased access to the
community, as I was already regularly attending rehearsals and participating in
performances. Further, it is a cultural norm for singers to observe the rehearsals of other
singers both for educational purposes and when one is unable to attend the actual
performance. I was able to use my contacts within the community to connect with those
who would become informants for my project. It was also advantageous that as a singer I
was familiar with cultural norms and vocabulary used within the community.
In her article “Culture Bearer and Tradition Bearer,” Mellonee Burnim discusses
how her insider status impacted her studies within the Black churches she studied.
96
Burnim’s experiences suggest that one’s personal characteristics, such as gender and
race, can impact one’s fieldwork experience.
175
In Burnim’s work, her shared race as
well as her understanding of the gospel traditions she was studying granted her insider
status even though she was a visitor within the congregation.
176
In my research, my
insider status was granted given that I was already actively performing and/or studying
with many of my informants. However, like Burnim, in some ways I was also a cultural
outsider. In Burnim’s case, her religion and role as researcher separated her culturally
from the community in which she was working. In my case, my social status among the
community lent me outsider status. Particularly in my graduate training, though the
majority of my educational experiences were with voice majors, the majority of my
friends were non-voice majors. During the early portion of my fieldwork, I rarely
socialized with any of the voice majors and knew few of them on a personal level.
Being on the fringe of the social community of opera singers I worked with was
somewhat difficult, particularly at the beginning of my fieldwork. While many singers
expressed interest in my work, it was difficult to get singers to commit to interviewing
with me. In fact, I had 65 singers sign up to do interviews, but only 11 singers actually
responded to my request to schedule time to speak with them. I believe that had I been
better known and had a higher social status in the beginning of my work, more singers
would have set aside the time to interview with me. Initially, I also had difficulty
discussing the issue in casual conversation.
175
Mellonee Burnim, “Culture Bearer and Tradition Bearer: An Ethnomusicologist’s
Research on Gospel Music,” Ethnomusicology 29: no. 3 (Autumn 1985): 432-447.
176
Ibid., 435.
97
My social status within the opera community shifted towards the end of my
fieldwork, and consequently I had a higher social status and became better known in the
community. I believe this was due to me being cast in more academic and community
productions. These roles led to increased opportunities to interact with singers and
increased respect within the community. Though this shift did not lead to more formal
interviews, this led to increasing conversation of the topic in informal settings. I was also
asked to write about the issue in the blog Operagasm, and many singers who read my
article emailed me to discuss their experiences and their opinions and spoke about the
topic more freely. My participation in non-academic productions also shifted my social
status and increased the contacts with whom I could discuss the issue. While my social
status initially hindered the work I could do, ultimately my social status allowed me
increased access within the community.
Interestingly, the topic of image in opera often was discussed without my
prompting the subject. To this writing, my Facebook friends continue to address the
issue in posts. The subject is brought up frequently when singers socialize. The topic is
in some ways addressed when non-singers socialize. Many of my non-singer friends
frequently comment on singers being dressed up in all situations, or wonder what it
would be like for their image to directly impact their career. While I found these
discussions fascinating and useful for my research, I did feel awkward at times about
documenting my discussions with my friends and colleagues, especially those who were
not entirely aware of my project. At times, it felt like there was no real line between my
fieldwork and the rest of my life. My closest friends were very aware of my work, and
98
we often discussed whether some of our interactions would be useful to report in my final
project and if they would be comfortable with that. I made every effort to not incorporate
anything I was specifically asked not to, and in groups of people I was less familiar with,
I felt that I needed to let them know of my research and get permission to use those
discussions in my final project.
I found the issue of permission to be somewhat problematic throughout my
process. I discussed the project and obtained permission from Professor Kenneth Cox,
the voice department chair at the University of Denver, prior to beginning my research, as
my work was initially predominantly performed within the DU voice community. My
intended project was then submitted and approved through the University of Denver’s
Institutional Review Board (IRB). The IRB process insured that I had appropriate
consent forms for my interviewees, a plan in place for protecting the identities of my
subjects, and a plan in place should participation in my study cause anyone to experience
mental health issues related to the discussion. Anyone who participated in a formal
interview gave verbal consent and signed a consent form. Protecting the identities of my
informants remains somewhat problematic, as revealing some necessary demographic
information such as gender, voice part, and age range is integral to discussion of this
issue. This risk was outlined in the consent form, and explained verbally prior to
interviews. I did not encounter any formal interviewees who had concerns about this
potential issue. In fact, issues of permission were not problematic with my formally
interviewed singers. I also obtained permission when I was observing a non-public
rehearsal specifically for the purpose of observing issues of image. Given that it is fairly
99
common for rehearsals to be observed by singers, opera professionals, and guests, I do
not believe my presence at a rehearsal impacted the rehearsal process.
While issues of permission were not problematic when I was in situations
explicitly to collect data for my thesis, permission became problematic in other settings.
I should emphasize that I do not believe that I behaved unethically at any point during my
investigation, nor do I believe I violated the terms of my IRB Protocol. However, my
insider status within the community at many points led to unexpected discussion and
observation of issues related to my thesis work. Sometimes, this was during participation
in my own classes or observation of rehearsals and masterclasses for my vocal education,
rather than for my thesis. At other times, the issue came up during discussions with
friends and colleagues not initially or intentionally related to my work. If I realized in the
moment that this discussion could prove useful to my thesis, I tried to ensure that
informal discussions were included in my thesis only if those who participated in the
original conversation were notified and were comfortable with its inclusion. However, I
am certain that I did not obtain explicit permission to report every informal discussion
included in this study.
Further, for my observations of rehearsals and performances, particularly when I
was participating in a performance, permission was again problematic. If it was a
rehearsal I was participating in, I tried to ensure that everyone was aware of my dual
roles as singer and researcher. For performances, though, particularly with the Met
broadcasts and other professional performances, I did not obtain permission to report my
observations. In fact, I questioned whether permission was necessary. Most
100
performances, including masterclasses, are open to the public and expect to receive
public reviews of some kind. I believe that many of these issues of permission were
directly related to my insider status. If I had performed fieldwork in a community where
I was not an insider, there would have been a much clearer separation between fieldwork
and my social life. I also believe my awareness of my role as an outsider would have led
me to be more vigilant about obtaining permission. While I believe all my fieldwork was
performed ethically, if I were to undertake this type of study again I would have a more
outlined plan for obtaining permission.
In addition to changing my approach for obtaining permission from my
informants, I would also change my approach for interviews. While I believe I was able
to obtain information about image in opera from a variety of sources, I regret that so few
formal interviews were conducted. I was so discouraged by the initial difficulty in
scheduling interviews that I stopped trying to schedule them. However, as my social
status shifted and I came in contact with more singers, I believe I could have successfully
conducted additional formal interviews.
In retrospect, I also would like to have approached my interviews in different
ways. The questions I used to conduct my formal interviews can be found in Appendix
C. The questions that I asked got singers to discuss the issue, and informed me about
their experiences, but they did not lead to any sort of extended response from my
informants. I feel that some of my questions were too specific, and somewhat leading,
particularly the later questions. In this way, it was helpful to have informal discussions to
flesh out my research and see how singers discuss the issue in the “real” world.
101
These issues with interviews, insider status, and permission aside, overall I feel
that my work was a good initial study into the issue of image in present-day opera. I
discovered conclusive evidence to show that for present-day singers, their image has a
direct impact on their careers; I found that given the attitude of present-day singers about
the subject, the trend will likely continue; and I believe that I have also identified several
areas for future study, given that this trend may be opera’s new reality.
102
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APPENDIX A
LIST OF FORMALLY INTERVIEWED SINGERS
• Singer 1 Lyric mezzo-soprano. Early 20’s. 5 years private study.
Currently in latter half of undergraduate training. Has opera chorus,
musical theater lead, recital, and choral experience
• Singer 2: Lyric soprano. Early 20’s. 5 years private study. Currently in
latter half of undergraduate training. Has minor opera roles and choral
experience in academic settings, musical theater leads in youth theater.
• Singer 3: Soprano. Late teens. First half of undergraduate training.
Roles in youth theater, academic settings, choral and church singing.
• Singer 4: Baritone. Mid 20’s. 15 years private study. Latter half of
undergraduate training. Roles in academic settings, choral work, pop
groups.
• Singer 5: Soprano. Late teens. First half of undergrad. 8 years private
study. Roles in academic settings and choral singing.
• Singer 6: Large Lyric Soprano (used to be mezzo
177
). Studying 13 years.
Graduate training. Performed in professional opera chorus, academic
leads, musical theater and choral work.
• Singer 7: Coloratura Soprano. Early 20’s. 3 ½ years private study. End
of undergraduate training. Roles in academic settings, choral and musical
theater work
177
Fach changes are not uncommon, particularly when young mezzo-sopranos are later
moved to larger voiced soprano fachs.
108
• Singer 8: Tenor. Late Teens. Early part of undergraduate training. Roles
and choral work in community theater, minor roles in academic settings,
leads in musical theater.
• Singer 9: Mezzo-soprano. Early 20’s. 3 ½ years private study. End of
undergraduate training. Opera chorus experience in academic settings,
choral, jazz, North Indian classical.
• Singer 10: Lyric Soprano. Late teens. First half of undergraduate
training. Roles and choral work in academic settings, community theater.
• Singer 11: Light Lyric Soprano. Mid-20’s. 10 years private study. End
of graduate training. Roles in semi-professional, apprentice, and academic
settings.
109
APPENDIX B
LIST OF ALL FACHS
178
Soprano Fachs:
o Lyric Coloratura: Flexible, bright voice capable of florid passages, has
extended top register. Roles include Juliette from Gounod’s Romeo et
Juliette, Marie from Donizetti’s La Fille du Regiment, and Cunegunde
from Bernstein’s Candide.
o Dramatic Coloratura: Rarest voice type. Flexible and powerful with the
rich colors of a lyric soprano and the extended upper range and flexibility
of a coloratura. Roles include The Queen of the Night from Mozart’s The
Magic Flute, Lucia from Donizetti’s Lucia di Lammermoor, and Violetta
from Verdi’s La Traviata.
o Soubrette: Sweet, younger-sounding voice. Generally plays the ingénue.
Roles often require strong actress, coquettish persona, and small physique.
Roles include Ännchen from Weber’s Der Freischütz, Adele from Johann
Strauss’s Die Fledermaus, and Susanna from Mozart’s Le nozze di Figaro.
o Lyric: Rich, full voice with ability to sustain long, lyric passages. Fewer
high notes and florid passages than coloraturas. Roles include The
Countess from Mozart’s Le nozze di Figaro, Rosalinda from Johann
Strauss’s Die Fledermaus, and Mimì from Puccini’s La Boheme.
o Spinto: Steel quality with dramatic intensity, voice capable of cutting
through large orchestra. Roles include Leonora from Verdi’s Il Trovatore,
Tosca in Puccini’s Tosca, and Agathe from Weber’s Der Freischütz.
o Dramatic : large, dynamic voice with big sound, drama, and staying
power. Roles include Aida from Verdi’s Aida and The Marshallin from
Richard Strauss’s Der Rosenkavalier.
o Wagnerian: Largest soprano voice type with strong middle and low
registers, must be able to carry above large orchestra and sustain long
lines. Stereotypes dictate that these singers would be the physically
largest. Roles include Brünhilde from Wagner’s Die Walkyrie, Isolde
from Wagner’s Tristan und Isole, and Salome from R. Strauss’s Salome.
Mezzo-Soprano Fachs
o Lyric: Rich, smooth voice with impeccable legato lines. Requires
medium sized voice with limited flexibility, as there are few florid
passages. Often phsyicall smaller. Often performs pants roles. Roles
178
Summarized from Tiana Malone, “What the Fach? A beginner’s guide to the German
Fach system,” La Scena Musicale 16: no. 6 (March 18, 2011),
http://www.scena.org/lsm/sm16-6/sm16-6_fach_en.html
(accessed April 4, 2012).
110
include Siebel from Gounod’s Faust, Sesto from Handel’s Guilio Cesare,
and Dido from Purcell’s Dido and Aeneas.
o Lyric Coloratura: Warm lower register and agile higher register. Roles
often demand florid passages in higher registers and sustained lower
passages. Often plays younger, more feminine mezzo roles. Roles
include Rosina from Rossini’s The Barber of Seville, Cenerentola from
Rossini’s La Cenerentola, and Caesar from Handel’s Guilio Cesare.
o Dramatic Mezzo: Large, rich, powerful voice with strong middle and low
register and powerful high register, capable of carrying over large
orchestra. Fewer florid passages. Often plays older women mothers,
witches, and villains. Roles include the Witch from Humperdink’s Hansel
und Gretel, Brangäne from Wagner’s Tristan und Isolde, and Azucena
from Verdi’s Il Trovatore.
o Contralto: Lowest female voice part, very rare. Dark, heavy tone and
color. Often plays witches, castrati roles, or villains. Roles include Ruth
from Gilbert and Sullivan’s The Pirates of Penzance, Mother Goose in
Stravinksy’s The Rake’s Progress, and Cornelia in Handel’s Giulio
Cesare.
Tenor Fachs:
o Countertenor: Male alto voice, often used in early music as replacement
for castrati.
179
Sounds vary from light falsetto to lyric-mezzo soprano-like
quality. Roles include Orfeo from Gluck’s Orfeo ed Euridice, Cesare
from Handel’s Guilio Cesare, and Oberon from Britten’s A Midsummer
Night’s Dream.
o Lyric Comic: Tenor with good acting abilities and ability to create distinct
voices for different characters. Often sung by younger singers. This voice
type specializes in smaller, comic roles. Roles include Monostatos from
Mozart’s The Magic Flute and Beppo from Leoncavallo’s I Pagliacci.
o Dramatic Comic: Non-romantic opera leads. Often villains, fathers, or
older brothers. Voice must cut through orchestra, and singer must have
strong acting abilities. Roles include Herod from R. Strauss’s Salome and
Mime from Wagner’s Die Walkürie.
o Lyric: Light, sweet tone with excellent legato. Often romantic lead.
Roles include Tamino in Mozart’s The Magic Flute, Tom Rakewell from
Stravinsky’s The Rake’s Progress, and Nemorino from Donizetti’s L’elisir
d’amore.
o Spinto/Light Dramatic: Heavy, lyric quality with ability to carry over
large orchestras. Distinctive squeal sound present in the voice. Often
179
Castrati were men castrated before puberty to preserve a high vocal sound. Though
popular in earlier periods of opera, the practice fell out of fashion and was made illegal
by the end of the nineteenth century.
111
romantic leads. Roles include Werther in Massenet’s Werther and Don
José in Bizet’s Carmen.
o Full Dramatic: Largest tenor voice type. Stereotypically the physically
largest singers. Strong middle and low register with ability to sustain long
lines and carry over large orchestra. Roles include Tristan from Wagner’s
Tristan und Isolde, Otello from Verdi’s Otello, and Siegfried from
Wagner’s Siegfried.
Baritone/Bass Fachs
o Lyric Baritone: light, sweet tone with excellent legato and flexibility.
Good pitch range. Roles include Guiliermo from Mozart’s Cosi fan tutte,
Count Almaviva from Mozart’s Le nozze di Figaro, Don Giovanni from
Mozart’s Don Giovanni.
o Comic Baritone; similar vocal qualities to lyric baritone with strong
acting abilities. Often plays comic roles, sidekicks, or servants. Roles
include Leporello from Mozart’s Don Giovanni, Figaro from Rossini’s
The Barber of Seville, and Major Stanley from Gilbert and Sullivan’s The
Pirates of Penzance.
o Dramatic/Verdi Baritone: Rich, warm sound with ability to carry over
large orchestra. Roles include Scarpia from Puccini’s Tosca, Escamillo
from Bizet’s Carmen, and Rigoletto from Verdi’s Rigoletto.
o Heroic Baritone: Similar in sound to dramatic baritone, must be able to
carry over large orchestra. Stereotypically physically largest singers.
Roles include Wotan from Wagner’s Die Walküre, Hans Sachs from
Wagner’s Die Meistersinger von Nümberg, and Amfortas from Wagner’s
Parsifal.
o Bass Baritone: Often lower melodic lines than baritone but must still
possess higher notes. Often cast in Mozart roles. Roles include Papageno
from Mozart’s The Magic Flute, Figaro from Mozart’s Le nozze di Figaro,
and Mephistopheles from Gounod’s Faust.
o Dramatic Comic Bass: Darker, powerful sound. Often plays comic roles
that have florid passages. Roles include Don Bartolo from Rossini’s The
Barber of Seville and Ferrando from Verdi’s Il Trovatore.
o Basso Profundo: Lowest male voice type. Rich, full, and solid sound that
resonates. Roles include Sarastro from Mozart’s The Magic Flute and
Marke from Wagner’s Tristan und Isolde.
112
APPENDIX C
Thesis Interview Questionnaire-Current Singer
1. What is your name, age, and voice part?
2. How long have you been singing semi-professionally/professionally?
3. In what capacity have you performed professionally/semi-professionally (opera chorus,
comprimario role, lead role, cover, etc)?
4. Do you do any other singing besides operatic? (musical theater, church gig, etc)
5. As a singer, is image something you are concerned about?
5a. If yes
-What specifically are you concerned about?
-What is your ideal image to project?
-What are you doing to create/maintain the image you’d like to project?
5b. If no
-Why not?
6. As a singer, is body image specifically something you are concerned about?
6a. If yes
-Why are you concerned?
-What are your concerns?
-Do you actively work on your physical health/shape? What do you do?
6b. If no
-Why not?
7. Do you feel that image is important in opera right now?
-7a. If yes-
-How do you see it as important?
-Do you agree with this? Why or why not?
-Do you feel that it’s always been this important?
-WHY do you think image is important in modern opera?
-7b. If no-
-Why not?
8. What is your reaction to singers like Anna Netrebko, Natalie Dessay, Renee
Flemming using their beauty and sexuality to market themselves?
9. Do you believe that a good singer requires certain external physical attributes to
produce a good sound?
9a. If yes-
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-What are those attributes?
-Do they change by fach?
9b. If no-
-Why not?
10. Have you ever changed your appearance/would you ever change your appearance to
further your singing career?
10a. If yes-
-What changes have you/would you be willing to make?
10b. If no-
-Why not?
11. Has a teacher, coach, director, competition judge, etc ever suggested that you change
something about your appearance?
11a. If yes-
-What did they ask you to change?
-Did you make the change?
-What was your reaction?
-What kind of impact did the change have/does it still have an impact?
11b. If no-
-What do you feel your reaction would be?
12. Have you seen a shift or a change in emphasis regarding image in opera?
