A Soprano Recital

1.1 Background of the Study

A Soprano recital is a solo performance accompanied by instrumentals aimed at showcasing the performer’s proficiency as well as entertaining the audience.

The recitalists sometimes focus on the lyrics and rhythm of the piece especially if accompanied perfectly by professional instrumentals, without considering the sonority of the voice produced; as any tonal assault could induce tonal fluctuations capable of bringing the recital to an abrupt end without its aim being achieved.

The goal of every recital is to entertain the audience, stir the emotion of the listener, while showcasing the performer’s technique and proficiency in a way. Vocal music, which is considered the most pertinent style of music, enjoys the greatest success in public not because of only the aesthetic expressions that could fine-tune the audience; but also the sonority of the performer’s tone/sound which can interpret the composer’s work to the listener.

Mob and his Colleagues (2011) posited that, a singing performance requires a fine control of the singer on various levels of their vocal instrument: posture, breathing, phonation, and articulation.

Most recitals are performed using soprano or mezzo, which are mostly sang by females (and by males in very few cases) owing to their vocal paraphernalia. The soprano voices are often capable of immense depth and richness of tone, although characterized by impressive high notes (hence the name, which comes from the Italian “sopra” or “above”) and a timbre that usually sounds brighter or more sparkling than the other voice types.

The performer’s ability to use the notes of the piece perfectly makes recitals interesting especially with instrumental accompaniments.

For a soloist, the timbre is of great importance as a stand out factor that determines the sonority of the performer’s voice. However, the timbre of a voice along with its musical range (tessitura) and its flexibility would combine to form a vocal category.

Modern technology such as electroglottography offers an elegant compromise between non-invasiveness and accuracy for measuring phonatory behavior (Luizard and Bernardoni, 2020).

1.2 Statement of the Problem

During most performances, the soloist sometimes focuses on the lyrics and rhythm of the piece especially if accompanied perfectly by professional instrumentals. Not taking into consideration the sonority of the sound produced, which mars the aesthetics of such performance, resulting in the poor communication between the performer and the listener. Also, poor posture, breathing, phonation, and articulation could induce tonal fluctuations capable of bringing the recital to an abrupt end, without its aim being achieved.

1.3 Purpose of the Study      

This study is carried out to assess the how effective a sonorous voice can communicate the message of a composer to the audience during a soprano recital.

 1.4 Objectives of the Study

The objectives of this study will include:

1. Assessing the performer’s vocal timbre during performance of selected pieces of different era.
2. Exploring the synchronization of the voice and aesthetic during the performance.
3. Interpreting the message in the selected pieces through performer’s tonal flexibility.

1.5 Scope of the Study

This study is limited to the five (5) era of music, namely: Baroque, Romantic, Classical, Contemporary and African art music.

Conclusion

The timbre, the flexibility and articulation of the soloist improved throughout the course of the performance. The soprano recitalist showcased a certain level proficiency during her performance and the aim of the program was achieved. This means that she was emotionally stable, composed, with proper breathing patterns and mastery of the chosen piece.

Poised, with an in-depth knowledge of the accompanying instrumentals, the aesthetic of the recital was brilliant. With a sonorous voice, she could communicate individual composers’ theme to the audience. There is need for continuous training to be more efficient in future performances.