For this investigation, several recordings and performances of both pieces were explored to compare the personal interpretations and a significant discovery was found, but this investigation will only focus on one of the interpretations to achieve a more specific comparison. In the “Some Enchanted Evening”, vocal vibrato is widely used at the ends of phrases. For example, in bars 13-16, the longer notes of the phrase; the minim and the semibreve had both been sung with vibrato. There are 2 types of vocal vibrato used in the “Some Enchanted Evening”, the first type starts flat at the beginning of the notes and waves rapidly in the centre, and flattens again at the end. The second type starts off slowly and then increases in rapidity towards the end of the note. Vibrato in opera originated from Italy, it is then spread out from the 19^th century

       Example #1: Emile’s part in Some Enchanted Evening bars 13-16 from

“Broadway Musical Show by Show 1940-1949” p.74

(Hal Leonard Publishing Corporation)

Similarly, in “The Fragrant Death”, a personal interpretation of the melodic line is evident.  Predominantly on the longer notes and at the ends of every phrase, an additional note is sung above that which is highlighted in the red box.

Example #2: The Fragrant Death bars 3-4 from: http://resources.edb.gov.hk/~chiopera/scores/zhuangtai.pdf

For example, in bars 4-5, an F natural note is added, embellishing the note to which it is attached. This additional note does alter the anhemitonic major pentatonic scale on which the melody is based because it is the 7^th note of the scale, which is not included in the scale. (See diagram #1)

Therefore, there is a strong performing musical link between the 2 pieces; both artists add richness to the melodic line in culturally specific ways.

       Diagram #1: The anhemitonic major pentatonic scale in C:

Example #3: The Fragrant Death bar 7 from: http://resources.edb.gov.hk/~chiopera/scores/zhuangtai.pdf

Another example of an additional note in “The Fragrant Death” would be in bar 7; there is an extra F natural note in front of the E quaver, which contributes again to a modification of the standard pentatonic form. This is identical to the first example shown. Adding a additional note the pentatonic form successfully adds richness to the melody.