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Extensive research with musicians has shown that instrumental musical training can have a profound impact on how acoustic features are processed in the brain. However, less is known about the influence of singing training on neural activity during voice perception, particularly in response to salient acoustic features, such as the vocal vibrato in operatic singing. To address this gap, the present study employed functional magnetic resonance imaging (fMRI) to measure brain responses in trained opera singers and musically untrained controls listening to recordings of opera singers performing in two distinct styles: a full operatic voice with vibrato, and a straight voice without vibrato. Results indicated that for opera singers, perception of operatic voice led to differential fMRI activations in bilateral auditory cortical regions and the default mode network. In contrast, musically untrained controls exhibited differences only in bilateral auditory cortex. These results suggest that operatic singing training triggers experience-dependent neural changes in the brain that activate self-referential networks, possibly through embodiment of acoustic features associated with one's own singing style. [ABSTRACT FROM AUTHOR]

Jan Wiener is a Society of Analytical Psychology (SAP) trained Jungian analyst and Journal of Analytical Psychology Board member, highly esteemed in Jungian and psychoanalytic circles for her work as a practitioner, teacher, supervisor and writer as well as for her well‐honed leadership skills, notably as a member of the executive committee and as a vice‐president of the International Association for Analytical Psychology (IAAP), the international organizing body for Jungian analysts worldwide. Jan has made remarkable contributions to the personal and professional development of Jungians not only in the UK but also for those involved in the IAAP Developing Groups programme where she has been a pioneer, providing cross‐cultural outreach to those seeking training in Russia, Taiwan, Serbia, Ukraine and Denmark. Success in Jan's many‐faceted and full life has been facilitated by a natural authenticity, good sense of humour, hearty laugh and a welcoming attitude; these attributes have significantly aided in bridge‐building and opening space for creative interactions within and between individuals and groups. Her development was influenced by a history of parents who fled from Vienna and Berlin to London, escaping persecution by the pre‐war Nazi regime. Jan's aunt lived in close proximity and was a child analyst who worked closely with Anna Freud. As a young woman, Jan swam the English Channel and she has always been a sports lover, especially tennis. Her many talents extend to music and she is a trained opera singer who has recently been involved in an affordable educational programme in Cratoule, France, that fosters the expanding growth of amateurs who have the opportunity to learn from more established, experienced attendees. Jan has performed as a singer in addition to presenting her analytic work globally. She has many publications that centre around clinical practice, her forte. Well‐known by those who have been in relationship with Jan personally and professionally is her exceptional capacity for presence in the moment while holding the long‐view; this capacity as well as an inclusive attitude, perhaps born in part from family history, along with a keen intelligence, intuition and native talent, have led to a life‐long commitment to service and generative partnerships that continue to bear fruit amongst those touched by her kind and generous soul. [ABSTRACT FROM AUTHOR]

"The Italian Opera Singers in Mozart's Vienna" by Dorothea Link explores the influence of Italian opera singers on the repertory and casting decisions at the court theatre in Vienna during Emperor Joseph II's reign. The author draws on a wide range of sources to examine how the singers employed by Joseph II shaped the operatic repertory and how the Italian opera troupe was administered over multiple seasons. The book challenges some commonly held beliefs and provides insights into the importance of the star soprano in the success of comic operas. It also raises questions about the casting of Mozart's music today. The research highlights the involvement of Emperor Joseph II in the running of the opera buffa company and the central role of theatre in Viennese society. Overall, the book provides a valuable contribution to the understanding of the operatic conventions and the complex theatrical environment during Joseph II's reign. [Extracted from the article]

This article is a roundtable discussion among opera professionals about the importance of collaboration in opera productions. The participants discuss the challenges of directing and acting in Wagner's operas, emphasizing the importance of personal direction and understanding the characters. They also discuss their experiences working on specific productions and the rewards and challenges of the rehearsal process. The participants highlight the collaborative nature of opera production and the transformative power of live performances. They emphasize the need to value and promote opera as a form of spiritual nourishment. [Extracted from the article]

Sissieretta Jones (1868-1933) is perhaps best remembered as one of the first Black opera singers, despite having never performed on the operatic stage. Exploring race and phonography as interlinking technologies of perception underlying and structuring the ability of audiences to perceive black performers, this essay analyzes the multiple Joneses produced through her archive—in reviews, promotional photographs and illustrations, and the absence of her phonographically recorded voice. Through this exploration, I argue that we must resist the drive to embalm the remains of performance in order to move toward a more multiple analysis of Black archives. [ABSTRACT FROM AUTHOR]

The vocal fold vibrates in high frequency to create voice sound. The vocal fold has a sophisticated histological "layered structure" that enables such vibration. As the vibration causes fricative damage to the mucosa, excessive voicing can cause inflammation or injury to the mucosa. Chronic inflammation or repeated injury to the vocal fold occasionally induces scar formation in the mucosa, which can result in severe dysphonia, which is difficult to treat. Oxidative stress has been proven to be an important factor in aggravating the injury, which can lead to scarring. It is important to avoid excessive oxidative stress during the wound healing period. Excessive accumulation of reactive oxygen species (ROS) has been found in the injured vocal folds of rats during the early phase of wound healing. Antioxidants proved to be useful in preventing the accumulation of ROS during the period with less scar formation in the long-term results. Oxidative stress is also revealed to contribute to aging of the vocal fold, in which the mucosa becomes thin and stiff with a reduction in vibratory capacity. The aged voice can be characterized as weak and breathy. It has been confirmed that ROS gradually increases in rat vocal fold mucosa with age, which may cause further damage to the vocal fold. Antioxidants have also proved effective in avoiding aging of the vocal fold in rat models. Recently, human trials have shown significant effects of the antioxidant Twendee X for maintaining the voice of professional opera singers. In conclusion, it is suggested that oxidative stress has a great impact on the damage or deterioration of the vocal folds, and the use of antioxidants is effective for preventing damage of the vocal fold and maintaining the voice. [ABSTRACT FROM AUTHOR]

The Italian Opera Singers in Mozart's Vienna. By Dorothea Link. Urbana: University of Illinois Press, 2022. [viii, 470 p. ISBN 9780252044649 (hardcover), $125; ISBN 9780252053658 (ebook), $39.95.] Music examples, illustrations, [...]

Background: Control of pelvic floor muscles (PFM) is emphasized as important to obtain functional breath support in opera singing, but there is not much research that proves PFM function as part of breath support in classical singing. Transperineal ultrasound is a reliable method for quantification of PFM contraction in urogynecology. Our aim was to establish if transperineal ultrasound can be used for observation of movement of the PFM during singing and to quantify pelvic floor contraction. Methods: Cross sectional study of 10 professional opera singers examined with transperineal ultrasound in the supine position at rest and contraction, and standing at rest and during singing. Levator hiatal area was measured in a 3D rendered volume. Levator hiatal anteroposterior (AP) diameter and bladder neck distance from symphysis were measured in 2D images. Results: The AP diameter was shortened from supine rest to contraction (15 mm), standing (6 mm) and singing (9 mm), all p < 0.01. The bladder neck had a non-significant descent of 3 mm during singing. The mean proportional change in AP diameter from rest to contraction was 24.2% (moderate to strong contraction) and from rest to singing was 15% (weak to moderate contraction). Conclusions: Transperineal ultrasound can be used to examine the PFM during singing. The classically trained singers had good voluntary PFM contraction and moderate contraction during singing. AP diameter was significantly shortened from supine to upright position, with further shortening during singing, confirming that female opera singers contracted their pelvic floor during singing. Brief summary: Transperineal ultrasound can be used to assess pelvic floor muscle contraction during singing. Clasically trained singers contract their pelvic floor muscles during singing. [ABSTRACT FROM AUTHOR]

In an earlier study, we analyzed how audio signals obtained from three professional opera singers varied when they sang one octave wide eight-tone scales in ten different emotional colors. The results showed systematic variations in voice source and long-term-average spectrum (LTAS) parameters associated with major emotion "families". For two of the singers, subglottal pressure (PSub) also was recorded, thus allowing analysis of an additional main physiological voice control parameter, glottal resistance (defined as the ratio between PSub and glottal flow), and related to glottal adduction. In the present study, we analyze voice source and LTAS parameters derived from the audio signal and their correlation with Psub and glottal resistance. The measured parameters showed a systematic relationship with the four emotion families observed in our previous study. They also varied systematically with values of the ten emotions along the valence, power, and arousal dimensions; valence showed a significant correlation with the ratio between acoustic voice source energy and subglottal pressure, while Power varied significantly with sound level and two measures related to the spectral dominance of the lowest spectrum partial. the fundamental. [ABSTRACT FROM AUTHOR]