EXPLORING LEARNING AND UNLEARNING (III): MENTAL TRAINING FOR PROFESSIONAL SINGERS

Abstract

Mental training has become an essential component of high-level performance across domains such as clinical psychology, neuroscience, elite sports, corporate leadership, and performing arts. Opera performance requires the integration of multiple cognitive emotional and physical processes. Professional singers must simultaneously manage vocal technique, musical interpretation, stage movement and dramatic characterization while performing in front of an audience. The cognitive demands of musical performance include complex memory processes, attention control, and rapid decision-making. Opera singers require an integrated model of mental preparation that extends beyond vocal technique. In my previous articles from the series “Exploring learning and unlearning in singing” (“Breath”, 2023 and “Effective Study Methods for the Individual Practice of Professional Singers”, 2025) I followed the elaborate process of training an opera singer from the dynamic perspective “Learning - Unlearning - Relearning” (LUR). Each article aims to create a theoretical basis, developed both from my own experience as a professional singer and teacher, correlated with research and studies recently published on the topics addressed. The purpose of these articles is to discuss the essential processes that a professional singer faces in his preparation for a lyrical career, and to permanently maintain a balance between theoretical and practical aspects, as is the study of singing. This article proposes a structured mental training curriculum for cognitive, emotional and artistic performance optimization, specifically designed for professional singers. The article is organized around three core phases of artistic activity: preparation and study, performance under evaluative pressure, and post-performance psychological recalibration. Drawing on research in performance psychology, self-regulated learning, neuroplasticity, mental imagery, and self-determination theory, the article integrates theoretical frameworks with concrete exercises applicable to daily vocal practice and stage performance. Special attention is given to multidimensional musical memory, meta-attentional flexibility, emotional regulation and resilience in critical incidents in long-term artistic careers. The paper concludes with a discussion of “unlearning” maladaptive cognitive habits that limit artistic authenticity and vocal freedom.