This book offers guidance for professional voice users who wish to know more about their voices and how to optimise their creativity and vocal performances. As a classically trained singer, I found myself encouraged to practise the different exercises suggested in each of the chapters concerning a wide range of aspects to improve vocal performance. As a voice researcher, I was impressed with Dayme's emphasis on the importance of a symbiosis between scientific and artistic knowledge.

According to the author, old and outdated information about vocal production still exists in both artistic and scientific communities. However, communication between voice care professionals and performance teachers is becoming more frequent, melting the borders between scientific and artistic fields. This is achieved by Dayme's work, so that the reader, whether a classically trained singer, a school teacher or any other professional voice user, will be able to develop a conscious, effective and healthy use of his/her voice. In my opinion, this is a distinguishing point between this and other books about vocal performance: the scientific and practical aspects of vocal performance are conveyed in an engagingly down-to-earth manner to any reader interested in the voice.

The book is divided into three major parts which together provide an overview of the range of important aspects involved in vocal performance: the voice quality, its bodily envelope and health care; the psychological aspects of being a performer and preparing a performance; and finally, the art of achieving a successful performance by clearly transmitting the message of a song and engaging the audience. The content throughout is relevant for both performers and teachers, and begins with the foundations for achieving healthy and free vocal production, as Chapter 1 prepares the reader for the use of scientific terminology on the anatomy and physiology of the body in general, and gives very simple information on the nervous system. Chapter 2 is dedicated to body alignment and gives detailed information (made simple by using practical examples and figures) on body function. It advises the performers on what to read and what to do in order to increase their knowledge of the anatomy and physiology of their instrument. Chapter 3 is dedicated to breathing and its importance in free vocal production, while Chapter 4 describes the larynx and its anatomy (muscular and skeletal) and the physiology of vocal production.

In Chapter 5 the author explains the meaning of resonance and describes the structures involved reviewing the anatomy (muscular and cartilaginous) of the pharynx, then focusing on the soft palate. The misconceptions of vocal resonance and what should be done to achieve an optimal sound are explored, using examples of effective exercises so the reader can experiment with these matters him/herself. The author concludes this chapter by introducing the idea that the vocal mechanism is the same for both speaking and singing voices. When the speaking voice does not relate to the singing voice, the identity of the person is compromised, and the vocal mechanism is not unified. Finally, Chapter 6 explores the structures and the process involved during articulation and provides detailed information of the interaction regarding certain movements in each of the articulating structures and the impact of these on sound quality.

The use of explanatory figures and diagrams in Part I makes the information widely accessible, and the reader is encouraged to explore the aspects involved in voice production, such as body alignment, breathing and vocal quality through a range of practical exercises. This could be a source of inspiration for teachers who want to increase their repertoire of exercises for their lessons. At the end of the book an appendix with anatomical terminology for those interested in consulting more advanced books on these matters is included.

Part II discusses matters on the art of vocal expression and presentation, such as vocal colour and musicality, both discussed in Chapter 7; Chapter 8 explores how to develop the creativity and spontaneity in a performance. These two chapters might be interesting to those who are constantly giving public talks, as it would help the preparation of presentations and in the creation of the correct mind set to express the message clearly to the audience in a captivating manner. The principal idea of this part of the book is that when the message is forgotten, then there is space for self-consciousness which is a bar to communication.

Part III focuses on the skills that are required for a successful performance, both on- and off-stage: it has examples of exercises that might help in achieving optimum performing practice in relation to posture, breathing and vocal use; it provides a range of mental exercises which might help to achieve maximum focus before going on stage, and how to avoid the distraction of self-criticism during the performance. This part of the book applies the exercises given in Part I in the context of performance and hints towards the mental images that one should have in order to achieve a successful performance. As expected, it covers the musical and emotional aspects of performance, and advice on how to avoid vocal abuse to keep a healthy instrument.

In summary, The Performer's Voice is a practical guide recommended for all professional voice users which would help to optimise their performance in all three aspects: vocally, psychologically and emotionally. I recommend this book as a valuable resource to be added to the list of references that a student should read in the first years of vocal training.