Academic Research
Sarah gained her PhD from the University of Leeds in 2014, having completed a thesis on Changing Vocal Style and Technique in Britain during the long Nineteenth Century. The research project was funded by the Stanley and Audrey Burton Trust, and supervised by Prof. Clive Brown and Dr Bryan White.
Sarah's thesis presents an overview of solo singing styles and techniques prevalent in Britain during the long nineteenth century, drawing upon evidence from didactic writing, correspondence, critical review, biography, voice science research, and early acoustic recordings in order to analyse changing approaches to voice production and musical expression. The discussion of vocal style is underpinned by discussion of a changing approach to larynx height, and concepts of chiaroscuro, bel canto, and expression are reconsidered in the light of technical discussion. The origins of the continuous larynx-lowering now expected of the operatic singer are recognised in early nineteenth-century voice science literature, but notable trends in selective larynx-lowering are identified from the mid nineteenth century onwards. This confirms the ideal of continuous larynx-lowering as a twentieth-century development, and has significant repercussions for current approaches to historically-informed performance and the singing of ‘early music’. The changing use of vibrato effects, portamento and messa di voce, and the application of expressive devices more generally throughout this period are considered within the context of nineteenth-century approaches to voice production.
The thesis is accompanied by a four-CD portfolio of recordings that demonstrates experimentation with nineteenth-century styles and voice production techniques, the emulation of early recorded vocal performances, and the realisation of nineteenth-century repertoire using historically-appropriate approaches to style and technique. Repertoire includes didactic material, operatic arias (including those by ‘bel canto’ composers), repertoire annotated by renowned pedagogue Manuel Garcia II, and works sung by celebrated nineteenth-century performers and early recording artists. Also included is experimentation with audio filtering that seeks to emulate the limited frequency capture of early acoustic recording apparatus with a view to further understanding the evidence of nineteenth-century voices on record.
Selected tracks demonstrating experimentation with historically-appropriate approaches to vocal style and technique, and emulation of early recorded performances by nineteenth-century singers are included below (© 2014 The University of Leeds and Sarah Potter).
Sarah's thesis presents an overview of solo singing styles and techniques prevalent in Britain during the long nineteenth century, drawing upon evidence from didactic writing, correspondence, critical review, biography, voice science research, and early acoustic recordings in order to analyse changing approaches to voice production and musical expression. The discussion of vocal style is underpinned by discussion of a changing approach to larynx height, and concepts of chiaroscuro, bel canto, and expression are reconsidered in the light of technical discussion. The origins of the continuous larynx-lowering now expected of the operatic singer are recognised in early nineteenth-century voice science literature, but notable trends in selective larynx-lowering are identified from the mid nineteenth century onwards. This confirms the ideal of continuous larynx-lowering as a twentieth-century development, and has significant repercussions for current approaches to historically-informed performance and the singing of ‘early music’. The changing use of vibrato effects, portamento and messa di voce, and the application of expressive devices more generally throughout this period are considered within the context of nineteenth-century approaches to voice production.
The thesis is accompanied by a four-CD portfolio of recordings that demonstrates experimentation with nineteenth-century styles and voice production techniques, the emulation of early recorded vocal performances, and the realisation of nineteenth-century repertoire using historically-appropriate approaches to style and technique. Repertoire includes didactic material, operatic arias (including those by ‘bel canto’ composers), repertoire annotated by renowned pedagogue Manuel Garcia II, and works sung by celebrated nineteenth-century performers and early recording artists. Also included is experimentation with audio filtering that seeks to emulate the limited frequency capture of early acoustic recording apparatus with a view to further understanding the evidence of nineteenth-century voices on record.
Selected tracks demonstrating experimentation with historically-appropriate approaches to vocal style and technique, and emulation of early recorded performances by nineteenth-century singers are included below (© 2014 The University of Leeds and Sarah Potter).
Puccini Vissi d’arte from Tosca (1900).
Verdi Ave Maria from Otello (1887).
Emulation of Adelina Patti: Mozart 'Voi, che sapete' (recorded 1905); [no filtration].
Emulation of Adelina Patti: Mozart 'Voi, che sapete' (recorded 1905); 150-2000Hz filtration.
Emulation of Emma Albani: Chaminade 'L’été' (recorded 1914); [no filtration].
Emulation of Emma Albani: Chaminade 'L’été' (recorded 1914); 150-2000Hz filtration.
Gounod 'Je veux vivre' from Roméo et Juliette (1867).
Donizetti 'Regnava nel silenzio' from Lucia di Lammermoor (1835).
All thesis audio tracks © 2014 The University of Leeds and Sarah Potter.
All thesis audio tracks © 2014 The University of Leeds and Sarah Potter.
Selected Academic Output
DOCTORAL THESIS:
'Changing Vocal Style and Technique in Britain during the long Nineteenth Century' (unpublished doctoral thesis, University of Leeds, 2014).
CONFERENCES:
Symposium Administrator: University of Leeds CHASE (Collection of Historical Annotated String Editions) conference on 'Performing Brahms in the Twenty-first Century' ~ University of Leeds, School of Music, 30th June to 2nd July 2015.
'Singing Brahms in Context: Evidence of Nineteenth-century Vocal Practices' ~ University of Leeds CHASE (Collection of Historical Annotated String Editions) conference on Performing Brahms in the Twenty-first Century, University of Leeds, 30th June to 2nd July 2015.
'Bel canto: Myth or legend? Reconsidering Voices in Historically Informed Performance' ~ Royal Musical Association Students' Conference, University of Southampton, 3rd January 2013.
'The Search for 'Bel Canto': Redefining thought on Historical Singing through a Theory of Changing Vocal Practice' ~ Ninth Biennial Conference on Music in Nineteenth-Century Britain, Cardiff University, June 2013.
'Reviewing Garcia's legacy : Traite complet de l'Art du chant as a record of nineteenth-century vocal style' ~ Royal Musical Association Annual Conference, University of Leeds, 3-5 September 2014.
ARTICLES IN PREPARATION:
The Rise and Fall of The Larynx: Acknowledging Changing Vocal Technique in Historical Singing
Re-Examining the Bel Canto Tradition: A Case Study of Vocal Lineage
'What does one say to a singer?!': The Representation of Eighteenth- and Nineteenth-Century Singers and Singing in British Historical Drama
'Changing Vocal Style and Technique in Britain during the long Nineteenth Century' (unpublished doctoral thesis, University of Leeds, 2014).
CONFERENCES:
Symposium Administrator: University of Leeds CHASE (Collection of Historical Annotated String Editions) conference on 'Performing Brahms in the Twenty-first Century' ~ University of Leeds, School of Music, 30th June to 2nd July 2015.
'Singing Brahms in Context: Evidence of Nineteenth-century Vocal Practices' ~ University of Leeds CHASE (Collection of Historical Annotated String Editions) conference on Performing Brahms in the Twenty-first Century, University of Leeds, 30th June to 2nd July 2015.
'Bel canto: Myth or legend? Reconsidering Voices in Historically Informed Performance' ~ Royal Musical Association Students' Conference, University of Southampton, 3rd January 2013.
'The Search for 'Bel Canto': Redefining thought on Historical Singing through a Theory of Changing Vocal Practice' ~ Ninth Biennial Conference on Music in Nineteenth-Century Britain, Cardiff University, June 2013.
'Reviewing Garcia's legacy : Traite complet de l'Art du chant as a record of nineteenth-century vocal style' ~ Royal Musical Association Annual Conference, University of Leeds, 3-5 September 2014.
ARTICLES IN PREPARATION:
The Rise and Fall of The Larynx: Acknowledging Changing Vocal Technique in Historical Singing
Re-Examining the Bel Canto Tradition: A Case Study of Vocal Lineage
'What does one say to a singer?!': The Representation of Eighteenth- and Nineteenth-Century Singers and Singing in British Historical Drama