Vocal practice is a demanding process. It requires concentration, unstoppable strength and control. Hence, it would not be an exaggeration if we paralleled it with training for a championship. How, if anything, could the vocal in opera work better for the “inside” of the performer, but also for the end result?
Christina Tsipri, lyrical singer and vocal-acting teacherinspired by the phrase of G. Grotowski “method means that “how””, she set out to discover her own “how” to singing in opera.
“Mrduring the solitary study as a classical singer, my body had accumulated a lot of stress. In addition, I did not feel covered in the matter of vocal performance in the opera” she explains, speaking to the newspaper “Peloponnisos”. “I made the decision to distance myself for years and find the answers I needed in Theater education. Why there? Because through the theatrical process, you learn to cooperate with all your emotions and to say nothing if you don’t want to express something. While in vocal, what dominates is the tightening of the body, trying to control the voice. This control, then, of the vocal exercises needs to be transformed into a will to express emotions…”.
Therefore, what interests Christina Tsimbri, as she emphasizes, is the combination of singing and acting because this makes, “the demanding technical training of classical singing, a natural and enjoyable process with better results in the technique of the voice and in the self-confidence of the artist”.
OR holistic method of phonetics created by Ms. Tsibri it’s called “AVT Method – Acting Skills for Vocal Technique“ and from this year it starts online trainings in Greece and abroad. More information on the phone 6949064270.
Also, for the first time in a conservatory, he teaches vocal in combination with stage presence at the Contemporary Conservatory of Patras (classical & contemporary singing).
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### Interview with Christina Tsipri: Exploring the Intersection of Opera, Emotion, and Technique
**Interviewer:** Thank you for joining us today, Christina. Your journey from classical singing to exploring theatrical education is quite fascinating. Can you share more about what led you to make that transition?
**Christina Tsipri:** Thank you for having me! The transition was born out of a necessity to address the stress I had accumulated during my solitary study as a classical singer. I felt constrained by the technical demands and the pressure to control my voice. I realized that to truly express myself through opera, I needed to understand how to integrate my emotions into my performance.
**Interviewer:** That makes a lot of sense. You mentioned that in the theatrical process, you learn to cooperate with your emotions. How do you think this approach can benefit opera singers specifically?
**Christina Tsipri:** In opera, the focus is often on vocal control and technique, which can lead to physical tension and emotional suppression. Through theater training, I learned the importance of expressing emotions authentically, rather than forcing them. This integration allows singers to break free from the physical tightness and sound more natural and free in their performances.
**Interviewer:** So, would you say that acting techniques have a place in vocal practice for opera singers?
**Christina Tsipri:** Absolutely. Techniques like character work, improvisation, and emotional exploration can enhance a singer’s ability to convey a role’s depth. It’s not just about hitting the right notes but also about connecting with the audience. The more we understand our characters and how to express those emotions, the more compelling our performances become.
**Interviewer:** You mentioned finding your own “how” to singing in opera. Can you elaborate on that?
**Christina Tsipri:** Each singer must discover their unique approach. For me, this meant learning to navigate the physical aspects of singing while also engaging with my inner emotional landscape. It’s a balance of technical mastery and emotional authenticity. I advocate for a practice that incorporates various vocal techniques—like those outlined by the Complete Vocal Institute—while also emphasizing the importance of emotional expression.
**Interviewer:** It sounds like a holistic approach could transform not just individual performances but the art of opera itself.
**Christina Tsipri:** Exactly! When we allow ourselves to feel deeply and express authentically, we elevate not only our own performance but also the entire art form. It really is about creating a connection with the audience, making them feel something powerful and real.
**Interviewer:** Thank you, Christina, for sharing your insights. It’s clear that the intersection of vocal technique and emotional expression is vital for the future of opera.
**Christina Tsipri:** Thank you! It’s an exciting time for vocalists, and I look forward to seeing how this dialogue continues to evolve within the opera community.
