The world of opera through the lens of a User Experience designer
What do opera singing and UX design have in common? Well, for starters, opera comes from the Latin word “Opus,” meaning “work.” Indeed, staging an opera requires a lot of hard work. Singers spend countless hours and even years perfecting their roles, honing their technique and artistry through daily training. But what does this have to do with UX design? Surprisingly, the two fields have endless similarities.
As someone who occupies both the opera and UX design worlds, I can attest to the ways in which they intersect. Currently, I serve as a UX and visual designer at IBM Systems DevOps, but I once harbored ambitions of becoming a professional opera singer. Although I chose to pursue UX design as my career, my passion for opera remains a fundamental part of my life. More importantly, my experience as an opera singer has enriched my abilities as a designer and deepened my understanding of end-users.
The overlap between the two fields comes down to a responsibility to users. As an opera singer, I am responsible for every sound that the audience hears. As a UX designer, I am responsible for the experience of my end users.
What are the common grounds between opera singing and UX design?
1. Delivering an optimal experience
Paying attention to detail is crucial, and everything must have a purpose. As an opera singer, I use my voice to deliver a musical experience. Every note, expression, annotation in the score, costume, and the acting should serve a purpose. I diligently study the libretto, diction, techniques, and maintain my character. These composers are geniuses who never did anything unintended. Likewise, in UX design, I leverage my accumulated knowledge to provide the best experience. I ensure that the design choices are based on compelling reasons that benefit the end-users. Everything that faces the end-users should be pixel-perfect since appearance matters!
Color is a significant factor in both opera and UX design. My vocal range is akin to a color palette, and I experiment with various shades of timbre to create expressive performances. A single note on a keyboard can sound bright, dark, warm, or sad, depending on how I produce the sound. Similarly in UX design, color can affect the interface’s mood and feel and be employed effectively to draw attention to crucial elements.
2. Understanding people is crucial.
To portray a character authentically, I conduct thorough 360-degree research. I begin by asking questions such as “Who is she?”, “What is she singing?”, “What is her current emotional state?”, and “What is her grievance?”. In opera and musical theater, this is known as character study. During this stage, I watch at least twenty different versions of the aria performed by world-class singers and extract the best quality from each. Finally, I narrow down my focus to singers with similar vocal ranges and qualities to mine to start my own musical interpretation.
Similarly, in the early stages of UX design, I ask questions such as “Who is my target audience?”, “What are their needs and requirements?”, and “What is the ultimate goal?”. Once I have gathered sufficient information, I move on to bench-marking research and examine existing design patterns and best practices before unleashing my design creativity.
3. Collaboration is essential. Nobody wants divas. Be nice!
Collaboration is crucial for a successful team or production. In opera, the vocal part of the music is just one element of the production, and for a scene to be successful, the orchestra, accompanist, makeup artists, costume designers, set designers, lighting crew, and the singers playing the characters must all work together in harmony. As a singer, I know how to take the spotlight, but I have also learned how to work with other singers, stage directors, and accompanists to create a cohesive performance. I’ve heard stories of opera divas who couldn’t collaborate with others, causing damage to the entire production before the curtain fell — I always chuckle at those tales!
The same is true in the field of UX design when dealing with difficult colleagues. It can turn into a dramatic opera in three acts, and worse, it can affect the quality of the product, while the rest of the team suffers from stress and brewing resentment. It is essential to maintain open communication and a collaborative spirit to create a successful project.
4. Processes require endless patience.
Breaking down a big problem into small, manageable sections is often necessary. Take operatic arias, for instance — they’re often long and complex, even lifelong projects. An aria is composed of different parts and sections, and it is often necessary to tackle each section until they are all put together. Then I need to make sure all combined sections flow seamlessly. Similarly, the UX project that I am working on is grand in scale, with multiple functionalities and products rolled into one experience. Although I have a holistic experience in mind, it’s crucial for me to work on individual parts to ensure that each one is perfectly planned to create a cohesive user experience.
Learn to take criticism. I cannot be the judge of my own design or singing. As a singer, I have a voice coach who subjectively analyzes my voice and helps me produce sound effectively. I don’t always know what my true voice sounds like as it resonates in my head, and it’s not the same as what the audience will hear. Similarly, a designer should never work solo. Luckily, I have wonderful UX colleagues I can discuss design with anytime. When they provide me honest feedback, I take it with gratitude, knowing that it will help me improve my work.
The journey of UX design and preparing operatic arias is often far from beautiful, but it is a necessary step towards perfection. I vocalize to sing my music — nothing pretty and not what people need to hear! As an opera singer, I struggle through the music whether it is technique, psychological, or combined issues until everything becomes part of my DNA. Likewise, how many times have I cried about my early design ideas? After going through numerous iterations, I slowly build confidence in my design. This is the phase that requires the most patience from me in both Opera and UX.
Every project and aria is challenging. There are always opportunities for improvement in hindsight. To do better next time, I learn from my mistakes and try to avoid repeating them. However, one fix often leads to another problem. Opera singers and UX designers alike face never-ending challenges.
Expect the unexpected. Don’t startle. The show must go on. I remember when I was hanging out in the crowded backstage and suddenly heard my musical cue, the overture of the Phantom of the Opera. Clearly, there was a miscommunication. The suspenseful tune would not stop until the Phantom and I walked out onto the stage. Although the staging did not go exactly as we planned, the tenor playing the Phantom was a pro, and his calm demeanor helped me remain calm and finish my last money note. Similarly, business requirements change, and my design work goes through ad hoc adjustments with no notice. I might startle at first, but I am a pro. I have to remain resilient and focus on the task before me without looking back.
5. Discipline is key.
I cannot cut corners as there are rules, guidelines, and best practices to follow. In opera, while it allows for artistic freedom, there are rules and etiquette that must be strictly followed. As a coloratura, I am sometimes allowed to sing extravagant cadenzas in the score, but I have to learn not to deviate too far from what was intended. Similarly, as part of the IBM Design Community, I have to adhere to UX fundamentals and best practices in order to deliver high-quality designs based on established guidelines and standards.
Having solid foundational training and good technique is essential in both opera and UX. Bad vocal habits are extremely difficult to fix, and a singer with poor technique will deliver a bad performance, which is often noticeable to the audience. Such a singer will not have a long-lasting career unless their defects are corrected. Similarly, a UX designer lacking fundamental skills cannot satisfy end users, and a poorly designed experience is harder to fix and can cause inconvenience to end users.
Final thoughts!
Opera requires long, relentless, and patient hard work. People often see only the outcome and fail to realize the herculean effort behind the scenes. When I started studying opera, I quickly realized that I was barely fulfilling the minimum requirements as an artist when I merely perfected my arias as written in the score. I focused on interpreting the arias by embodying the character, whether it was the tragic Lucia, Violetta, and Juliet, or the menacing and power-hungry Queen of the Night. I learned to dance and build synergy with other singers to produce successful duets, trios, and ensembles. Then, I practiced and practiced until it was nearly perfect while fully immersing myself in the character.
My voice is like my fingerprint. I once tried to sound like a Tuba when I was a flute, but I learned to be myself and accept who I am. My weaknesses can be my strengths. As a coloratura soprano with a bright and warm timbre, I have often desired to sing hefty and dramatic soprano pieces. However, I’ve come to understand that there are certain things I have no control over. Instead of dwelling on what I cannot do, I’ve started to appreciate my unique vocal qualities and focus on using them to my advantage.
We are all unique and special. It’s important to be thankful for the talents we have and find ways to amplify them instead of lamenting what we do not have.
Jin Leem is a UX and Visual designer at IBM based in Research Triangle Park. The above article is personal and does not necessarily represent IBM’s positions, strategies or opinions.
