Internationally renowned scholars and artists reflect on Belcanto from different angles rooted in research and practice and open up new insights through novel viewpoints and renewed questioning. The publication takes its starting point with the historical practice, but focuses mainly on the question how artists today recreate this complex phenomenon and reinterpret the particularities of historical sound ideals, of which the very latest state of the art is also presented. Moreover, it is discussed how performers can reconcile historical aspects of vocal artistry and the conventions of modern singing as well as the requirements set for voices in the current opera business. Given the multi-faceted nature of music theatre, the publication additionally addresses the staging of the musical language of Belcanto, and reflects on the current practice of today's performances. With contributions in English by Daniela Barcellona, Peter Berne, Aviel Cahn, Guy Cherqui, Mariame Clément, Sieghart Döhring, Elsa Dreisig, Céline Frigau Manning, Sabine Henze-Döhring, Arnold Jacobshagen, Moshe Leiser, Damiano Michieletto, Andrea Sanguineti, Isolde Schmid-Reiter, Thomas Seedorf, Emanuele Senici, Robert Toft, Claudio Vellutini and Susanne Vill.