Abstract
In a world of spectacle in which everything seems to have already been told, the vocal-chamber music recital is found in an identity crisis. The economic, social and cultural context in which it takes place is labile and determines the performers to ask themselves what is their position within the sctructures in which they function/operate. The purpose of the research is to identify and reevaluate links, configurations, structures and elements of a type of an aparently morally obsolet musical performance and marked by the passage of time. The originality of the thesis spans from its interdisciplinary character and from its multifaceted approach of the performative phenomenon.