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In a world of ever-increasing media coverage of artistic and musical artists and events, together with an ever-increasing sophistication of a wider audience, it is becoming increasingly challenging for the artist, and in particular, the opera singer, to be successful in his career. Key to this challenge is that the opera singer is left with no choice other than to develop skills beyond the purely technical expertise. It is imperative that, in order to be extraordinary and thereby successful, the opera singer has to master three co-functioning disciplines, namely the good voice, musicianship and acting ability (sit bronne in).

Singers tend to take acting classes separate from their vocal training in order to improve their acting skills. However, they mostly discover that taking classes in spoken drama and dialogue helps up to a certain point, but when going back to singing opera, the acting strategies learnt in the drama class do not always migrate to the performance of the aria (cf. Bean: 2007:167).

This lack of transition is a result of the unique relationship between the music and the stage character in opera, which is not taken into account in the training of purely spoken (non-musical) drama. Thus, the one aspect that separates the acting of a spoken drama from that of opera is the music that is performed by instruments and the human voice. (Bron) (Prof. Jak: kommentaar is dat dit self evident is, of vroeër genoem moet word).

The argument specific to this dissertation is that the preparation and development of the opera singer (or singer-actor) has to facilitate three equally important, inter-linked and overlapping platforms of the Good Voice (singing technique), the discipline of musicianship and The Ability to Act (building the character). ( dink dit is aan die begin gesê)

In order to deliver a masterful opera performance, the singer actor needs to depict a character successfully. The opera singer needs to be a singer-actor who has mastered the following three pillars (Good Voice, Musicianship and Acting Ability) of the craft and art of Opera Performance. Each of these pillars deserves equal attention with particular reference to the input, mentoring/development and training curriculum of the opera singer (Bron)

Further to the intention of the dissertation, it will be important that there are appropriate and comprehensive definitions of these three equally important elements that are based on the relevant literature and which build on the existing body of knowledge in this field. Specifically, this study will integrate the definitions of “A Good Voice”, “Musicianship” and “Acting Ability” in terms applicable to the Singer-Actor’s optimal performance of Opera.

Furthermore, in this dissertation emphasis will be placed on singing techniques, the elements of musicianship, and various relevant acting strategies in the training of a successful opera singer.

This dissertation will also include the identification of relevant areas of scholarly attention and future academic research that will add to the existing body of knowledge in this arena.

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