Three photographs of Francesco Demuro singing on stage in the two fields where he has achieved the highest levels of professionalism: the traditional Sardinian Canto in Re (top-left) and opera music (top- right). Even today, whenever he has time off from his work as an opera singer, and whenever he manages to spend some time in his native town of Porto Torres in Sardinia, local dilettantes and his former colleagues in the field of Sardinian song can still persuade him to sing Sardinian songs either on stage or at private gatherings. ![]() ![]() ![]() Sardinian music was the core music that he came into contact with during the years of his precocious and intense apprenticeship and during the first years of his professional career. In fact, in the past decade, his career as a singer has brought him to star in operas performed in some of the most important venues in the world, 3 while for quite some time previously he was the most requested singer in the field of one genre of traditional Sardinian music, the Cantu in Re (Perria 2012). ![]() This article focuses on this very theme so as to observe and analyse its effects on the vocality of Francesco Demuro, one of modern-day Sardinia’s most renowned professional singers and recently the subject of an artistic ‘transhumance’ from local, traditional music to Western opera music. The 2016 ESEM conference focused on the concept of ‘transhumance,’ possibly paying homage to the Sardinian culture where ‘pastoralism’ has always played a central role, both as an economic activity and as a social complex that can generate, orient and shape specific modes of culture and expressions.
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