Technical Reconstruction and Artistic Expression in Bel Canto Performances of Chinese Works from the Perspective of Aesthetic Differences

Abstract

From the perspective of aesthetic differences between China and the West, this paper rejects the one-sided emphasis on either technique or style and advocates a pragmatic view of vocal aesthetics, namely that “the cat that catches mice is a good cat, whether it is black or white.” It provides an in-depth analysis of the essential differences between Chinese and Western traditions in timbral aesthetics, linguistic logic, and emotional expression, and argues that bel canto singing must undergo “technical reconstruction” when used to perform Chinese works. This reconstruction includes adjustments to the focus of resonance, the flexibility of the articulatory organs, and the point of breath support in accordance with the phonetic and prosodic patterns of Chinese, while maintaining the openness and smoothness of the bel canto vocal tract. The paper further explores how artistic expression characterized by the integration of voice and emotion can be achieved through technical means. It aims to identify a performance path that preserves the scientific vocal mechanism of bel canto while embodying the spirit and charm of Chinese national aesthetics, thereby providing theoretical support and practical reference for the international expression of Chinese vocal art.