1. The relationship between instrumental music and vocal singing in the opera "La Traviata" is as follows.

2. 1. Singing skills

During the entire opera singing process, the recitative part occupies 1/2 of the entire opera duration. Therefore, in the process of singing this opera, Special attention should be paid to this part [1]. Recitative has a higher degree of freedom in the singing process. The singer can narrate the lyrics as if reciting. At the beginning of the singing, the male protagonist uses this singing technique to express his inner monologue. The singing at this stage is more lively and brisk, and the singing tone is relatively firm, and the eighth notes and sixteenth notes of the phrases are accurately grasped. Although you feel freer when singing this part, the overall music rhythm needs to remain stable. In measure 21, the singing method is lighter and needs to express the characteristics of telling. In the 23rd measure, the singer's breath needs to be steady, there is no need to highlight the syllables, and the singing result needs to be light and smooth. In the 25th section, the singers need to gradually slow down the singing speed, and the singing tone will also change accordingly. The singing process needs to pay attention to the flexibility of the breath. In measure 28, the singer's speed needs to continue to slow down, and finally becomes an adagio. During this process, the music pays more attention to stretch. At this time, the tenor singer is in the stage of breathing, so he must pay attention to the sound jamming. , crowding problem. In the 33rd section, singing is more difficult. The singer needs to adjust the music state in time to maintain the softness of the music. When singing, he needs to contract the lower abdomen and drive the diaphragm to exhaust. In this section, the singing is lighter and it is used as the basis for the lyricism in singing.

In addition to the recitative part, arias are also a more important part of singing. Starting from measure 38 in the opera, the singer needs to sing in an aria. From this point on, the singing gradually changes to a brisk Andante, and the singing rhythm gradually changes to 3/4, reflecting the brisk feeling during the singing process. The singing method of aria is completely different from that of recitative. During the singing process, attention should be paid to the connection, and the singing rhythm is in the form of "strong and weak" [2]. In measures 43-44, the singer should focus on the relationship between pitch and pitch, and pay attention to the continuity of breath and the fluidity of singing. During the singing process, the singer's abdominal muscles need to be in a state of tension at all times to ensure that the lower abdomen can continuously contract when singing hard. In the 45th section, the singer needs to ensure the smoothness of the breath and adjust the breath through the exertion of the lower abdomen to ensure that the singer's overall breath volume remains balanced. In sections 51-55 and 58-61, you need to pay attention to the adjustment of singing intensity, and also pay attention to the comparison of singing strength and weakness. This singing process is a more difficult part, and the singer needs to adjust his breathing reasonably to ensure smooth breathing. And the nasal cavity and the oral cavity need to cooperate with each other to expand and straighten the breath. In addition, during the singing process, the singer also needs to maintain the emotion of singing, and remember to sing in the form of shouting.