HEERA ALAYA

IN CONVERSATION

“A strong body means a strong voice
connected with the mind and spirit.”

CHIARA MANESE
Mezzo-Soprano, IT

March 8th, 2023

Heera Alaya: Soprano, mezzo and contralto are classifications for female voices, while tenor, baritone and basso are designated for male voices. Among female opera singers, the soprano possesses the highest vocal range, while the contralto has the lowest. For male opera singers, the tenor has the highest range, and the basso has the lowest. Which category do you identify with: soprano, mezzo, or alto?

Chiara Manese: I identify as a mezzo-soprano—the medium voice for a female opera singer, but being a mezzo-soprano, I also hit high notes.

How did you determine your vocal range?

My voice spans two octaves, and I have a wide range, from low to high notes. But my strongest voice is in the middle of this range, which makes me a mezzo-soprano.

Finding the proper range is not straightforward. I started singing and studying opera at 16. When you are young, your voice is not defined. My authentic voice has arrived over the years.

Your voice was undefined in youth. Have you noticed it changing as you’ve grown into adulthood?

Yes [voice change]. For women and men, change in voice is biological, similar to changes in the body. Twenty years ago, I was a girl; now, I am a woman. As a young woman, I had a dark voice, similar to now, but not so strong.

Does your voice vary throughout the day?

Generally, the voice is not as strong in the morning; for many singers, their voice is better in the afternoon or evening. But my voice is ready after breakfast.

Stress also influences voice. Climate change, for instance, can make autumn in Italy terrible, as it is hot in the afternoon and cold in the evening.

I had never considered climate as a factor that affects the voice.

Other factors affect the voice. What we eat and drink during the day also changes our voice. For example, alcohol is not suitable for a singer. [Laughs] I am not allowed alcohol, but I love red wine (Tuscan people love wine).

When do you allow yourself to enjoy a glass of wine?

I drink only after my performances, not before, and at most two or three glasses a week. Opera singers have to maintain a healthy lifestyle, including a healthy diet.

A healthy body is essential for an opera singer. So fitness and sport are vital for me. I train a lot with fitness sessions. A strong body means a strong voice connected with the mind and spirit. I was not sporty; now, I am, so my voice is bigger and more intense.

You often find yourself on the road. How do you maintain a healthy diet while travelling?

Maintaining a healthy lifestyle while travelling is challenging. I find the right products in the market and drink plenty of water. I also take some medicinal herbs for sleep, as sleep is crucial.

Do you manage to get eight hours of sleep each night?

Unfortunately, I get only five to six hours of sleep. It is not easy to sleep like a baby when you are stressed.

How did you, at the young age of 16, realise you possessed an operatic voice? And when did you know that singing was your true calling?

[Laughs] I wanted to be a philosopher when I was young and showed little interest in becoming an opera singer. Fortunately, I soon discovered that my career was not philosophy but music, operatic music. So, at 19, after an audition, I entered a conservatory in Florence and completed my Laurea [degree]. With the assistance of scholarships in Italy and abroad in Germany and Austria, I kept studying. I also take master classes.

How do you explore your sound and make it genuinely your own?

I put my spirit into every note. I don’t want to be like great divas from the past; I want to be myself.

If you had to describe your voice in terms of taste, what would it be—sweet, bitter or sour?

[Laughs] My voice is like chocolate, dark chocolate (not milk chocolate) and sweet but not too sweet.

As a trained opera singer, do you have a singing teacher or maestro with whom you continue to refine your skills?

I have a maestra in Tuscany—señora Patrizia Morandini, a famous Brazilian soprano. As a professional, I must continue to improve and discover more about my voice.

Given your extensive travels, how often do you get the opportunity to train with Maestra Morandini?

I take one lesson a month with señora Patrizia and also study other master classes. For example, last November, I won a scholarship to the Nuremberg Opera House in Germany. The masterclass was on Gioachino Rossini’s Petite messe solennelle [Little solemn mass].

It is essential to study continuously.

Do you prefer flying or driving when travelling within Italy?

I love driving my car, especially in the evening. Sometimes, my mother (or uncle) accompanies me, but I am generally alone and am okay with solitude.

While being an opera singer may seem glamorous, the reality is marked by significant discipline and hard work.

Yes, the life of an opera singer is tough, but it is also rich and passionate. Singing is the most crucial part of my life. I would be fine staying in a challenging situation because singing is my mission.

When you previously discussed your voice, you described it as “dark.” Why is soprano singing characterised by textures, colours, and tastes?

A soprano voice is generally more crystalline than a mezzo-soprano. For a mezzo, the medium range is most important; the voice colour is darkest—dark black, unlike a soprano, which is like white. A tenor voice is similar to a soprano, crystalline, whereas a baritone voice is dark like a mezzo.

Where does the power in your voice originate?

My voice travels from my abdominal muscles and muscular strength to my mouth.

Since you mentioned that your voice originates from your abdominal muscles, I’m curious about whether you prefer to eat before or after your performances.

I prefer to eat a complete meal one to two hours before my performance as I need a lot of energy. It is a simple but healthy meal comprising protein, a small portion of carbohydrates (such as dark bread) and salad. And only olive oil, no butter.

How do you maintain your posture, and what considerations go into styling your appearance?

I do Pilates and functional training with heavy weights. My dresses must complement my voice, not overshadow my performance, so they must be simple, practical and beautiful. The simple approach also goes for my makeup—I keep it clean and fresh.

Given that most of your performances are in the evening, how many hours do you practice on the day of your concert?

During the concert season, I have performances and events almost every day and refrain from singing during the day. If I sing, I only study the repertoire—not in full voice, only for the memory of the melody.

On days I do not have a concert in the evening, I study for one to three hours in the morning or afternoon because we have to pay attention to the use of the voice. Also, it is essential to speak briefly, so I use text to communicate with friends.

What are the main characteristics of an opera performance?

Opera comprises actuarial [actions], singing, note memory, and presentation [dress and makeup]. The opera singer has to pay close attention to the opera’s characteristics and complexity.

What roles do you play in operas?

My roles are exciting and funny. For a mezzo-soprano, the parts are of a gipsy [Carmen], a prostitute [Maddalena from Rigoletto] and a witch [Dido and Aeneas]. I also play male roles, such as Romeo, Zanetto, and Cherubino.

Do you have a preference for the gender of your fellow singers?

I prefer singing with male voices, especially tenors.

Why do you prefer to sing with male singers?

I prefer to sing with male voices, such as duets from Cavalleria Rusticana with Turiddu and Carmen with Don Jose, as they are good repertoires. Neapolitan songs with tenors make for a good couple.

Is your performance affected by echoing versus the absence of sound return in a venue?

Yes, it [her performance] is different. A little echoing in a compact space is good (not so much) and helps a lot. When I sing in open-air places, my voice jumps—it dissipates, making it difficult to sing. I have to be attentive to my voice.

Do you notice interruptions such as sneezing, whispering, or shuffling? If so, how do you effectively manage distractions?

We are not in a discotheque. You are there for a classical music performance.  When people use the telephone or speak with others, it is very stressful for an opera singer to focus. It’s not possible to think, “I have only to sing.” But you must focus on your performance and discard the disrespectful people.

Are there certain months that are busier than others?

Summer, spring and autumn are packed. Winters tend to be more open.

Is there a city where you particularly enjoy performing?

Florence is special.

Is Florence your favourite place because you studied there?

I work closely with an opera society called Italy Opera Florence and sing in many private events. When in Florence, I stay in the city centre, often visiting friends or spending time alone. Summer is perfect for walking in the city centre and getting a drink (winter is too cold).

Opera singing is your passion. Do you have any interests outside of singing?

I love tasting good wine and good food. And I have a hobby with another type of music—I have a heavy metal band.

That’s quite a contrast—opera and heavy metal!

What are you looking forward to in life?
At this moment, I am single and am happy to be single [laughs]. I do not want marriage and babies; it is unimportant. I hope and dream of being a better singer and a better woman. And I want to stay in peace with my family.

President, Farm Sanctuary, USA