Netrebko: Her vowel shaping seems to be pretty consistent throughout the whole piece. Her mouth was very open throughout the whole performance. The only changes that I saw came when she sang notes higher in her range, at which point there was an even bigger opening. Even for more closed vowels her jaw remained pretty much in the same position. This was probably in an attempt to properly line up her formants. The only thing that changed was the position of her lips (she rounded them more around the closed vowels) and the position of the tongue. It seemed at times, however, like she was forcing her jaw open rather than just letting it be open.
Keenlyside: The jaw position seemed to be pretty consistent throughout the whole performance. The open position of the jaw seemed to be more natural than that of Netrebko's. His lips were very rounded throughout the song as well. The only time when the lip rounding seemed to diminish was on [e]. This is a low larynx cue, so that may be one possible reason for this strategy. The other reason to round the lips would be to lower formants, which would also make sense for him since he is a man.
Kaufmann: The jaw position in Kaufmann's performance seemed to fluctuate a little more. The jaw wasn't as low and open for his closed vowels when they were in his lower range. The opening increased fairly uniformly as he sang higher pitches. Since he's a tenor he probably did this do raise the formants in a few cases. Lip rounding was present for the entire performance and seemed to increase for closed vowels and for lower notes and decrease for open vowels and higher notes.
Bartoli: There wasn't much of a mouth opening at all for most of the performance. Her mouth was a little more open for high notes and open vowels. This could definitely be for the purpose of formant tuning. There wasn't really any lip rounding throughout the performance. The only real lip rounding that happened happened on notes lower in her register.
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