ABSTRACT
The classical field of vocal music is still dominated by performance traditions deriving from the late 19th century. This strongly affects the structures of classical/art music production and perception, both in terms of qualitative aspects, how music is conceptualised and designed, and not least the agency of the classical singer. This chapter suggests opera improvisation as a means for vocal agency in processes of collaborative and critical, constructive creative knowledge building. The central claim is that classical singers as vocal actors can use their performative knowledge as a critical and creative tool. I discuss case studies of opera improvisation in professional ensembles and higher music education, and provide examples based on analysis of a variety of data such as notes, annotations, interviews, and video recordings. I suggest that opera improvisations could be seen as iterative acts where the performers are altering their subject positions through performance, challenging and developing performative discourses of the classical field as well as their own cultural capital, or habitus.
