Opera singers confront the challenges of menopause
At the age of 40, when Lesley Garrett’s career was surging with record deals, BBC TV appearances, and her prominent role as principal soprano for English National Opera, she encountered the onset of perimenopause, reports BritPanorama.
For professional opera singers like Garrett, menopause impacts more than just physical health; it poses a significant risk to their vocal performance. Hormonal changes can lead to swelling and dryness of the vocal folds, while cognitive effects can undermine the confidence needed to deliver a compelling performance. Garrett admitted, “My voice was becoming very dry. The quality of the sound I was producing was poor. It was not good enough.”
Lucy Schaufer, a 59-year-old Grammy Award-winning mezzo-soprano, experienced similar struggles during her performances of The Barber of Seville with the Los Angeles Opera in her early 40s. She described an aria that became “almost insurmountable,” revealing a heartbreaking struggle to maintain her standard. Reflecting on her past challenges, she recognised it as perimenopause that affected her voice.
Within the opera industry, there remains limited awareness of how menopause specifically impacts vocal ability. The pressure to maintain youthful qualities can discourage singers from speaking openly about their struggles. At 70, Garrett confessed to keeping her difficulties largely private, revealing that only her husband, doctors, and singing teacher were aware of her challenges.
Joanne Bozeman, a former soprano and voice expert from the US, co-authored Singing Through Change: Women’s Voices in Midlife, Menopause, and Beyond. She notes that the medical community often fails to link voice issues to menopause, stating, “Menopause is barely taught in medical school. Also, the voice is not considered a medical issue. It certainly is a medical issue.”
Bozeman has faced this medical oversight herself, recalling her struggles to convey the importance of her vocal concerns to health professionals each time she sought an HRT prescription. The stigma surrounding these discussions can lead to further isolation among singers, she explained, adding that if singers conceal their issues, future generations cannot learn how to adapt effectively.
Both Schaufer and Bozeman have highlighted that the menopausal transition can affect various aspects of mental and physical health, complicating vocal performance. Schaufer noted the loss of support mechanisms she once relied on, stating, “Those things you do as a younger singer, sometimes you get by on them – and then all of a sudden you realise, that’s not serving me anymore.”
Following these changes, singers may attempt to push themselves beyond their capabilities, leading to further vocal strain and injury. “When your voice is feeling out of whack… it is not uncommon for singers to develop what are called ‘poor compensations’,” Bozeman explained. This can result in additional problems and discomfort during performance.
Rebecca Moseley-Morgan, president of the British Voice Association and a former soprano, now dedicates her efforts to coaching older singers, helping them adapt their techniques for an evolving voice. Her PhD research from 2024 highlighted that not all vocal decline with age is inevitable, as individual factors—like training and technique—play significant roles in vocal health.
For Garrett, HRT provided a pivotal solution. “That, for me, at 40 was a miracle, because after a year of symptoms, and with an enormous workload, I thought – I can’t function. I just couldn’t sing when that was happening.”
Innovative adaptations in performance roles can also help accommodate aging voices. When Schaufer faced challenges singing her role in Los Angeles, the opera company suggested she sing it a step lower, allowing her to perform in a key that suited her voice better. “I did it in a mezzo key, one step down, and it saved my bacon,” she said.
Schaufer is currently working with composer Joseph Phibbs on a new opera, Mrs T, portraying Margaret Thatcher, who was known for her deep voice. “If you don’t look at menopause as a problem, but as an asset… you end up with something like what we’re doing with Mrs T,” she stated.
Despite the necessary changes, Schaufer also expressed regret over losing her ability to perform high notes. “That’s more painful than losing a high note; the stories I know will never come to me again,” she reflected. She emphasised the need for the opera industry to evolve, advocating for better understanding and acceptance of menopause to combat age-related stigma.
Garrett echoed this sentiment, asserting, “People are realising it’s okay to sound more mature. At the end of the day, opera is a piece of theatre. If you have a character who is older, there’s no reason not to sound older.”
