, ▁who ▁could ▁reach ▁up ▁to ▁B ▁in ▁what ▁was ▁claimed ▁to ▁be ▁the ▁modal ▁voice ▁register . ▁However , ▁it ▁was ▁actually ▁a ▁" m ixed ▁head ▁and ▁ch est ▁voice , ▁and ▁not ▁the ▁full ▁ch est ▁voice ▁that ▁Italian ▁ten ors ▁would ▁develop ▁later ". ▁( Here , ▁" head ▁voice " ▁refers ▁to ▁fal set to ▁and ▁" ch est ▁voice " ▁refers ▁to ▁modal ▁voice .) ▁ ▁Now ad ays , ▁the ▁fal sett one ▁register ▁is ▁s eld om ▁used ▁in ▁Opera . ▁Such ▁notes ▁as ▁high ▁C , ▁C - sharp , ▁D ▁and ▁E ▁are ▁usually ▁s ung ▁in ▁the ▁modal ▁or ▁modal ▁sound ing ▁" m ixed ▁voice " ▁register ▁( or , ▁as ▁it ▁is ▁sometimes ▁mis leading ly ▁described , ▁" from ▁the ▁ch est "). ▁Even ▁the ▁famous ▁F 5 ▁of ▁Bell ini ’ s ▁I ▁Pur it ani , ▁which ▁used ▁to ▁be ▁left ▁out ▁or ▁s ung ▁fal set to ▁( for ▁example ▁by ▁Luci ano ▁Pav ar otti ) ▁has ▁often ▁been ▁performed ▁with ▁a ▁more ▁" ch esty " ▁voice ▁by ▁the ▁new ▁bel ▁cant o ▁ten or ▁generation ▁of ▁the ▁late ▁ 2 0 th ▁century .. ▁It ' s ▁unclear ▁whether ▁this ▁mode ▁of ▁execution ▁of ▁notes ▁as ▁high ▁as ▁F 5 ▁and ▁around ▁is ▁actually ▁modal ▁or , ▁or ▁the ▁same ▁light ▁registration ▁of ▁fal sett one ▁but ▁with ▁more ▁compression ▁tw ang ▁and ▁br ighter ▁v ow els ▁which ▁make ▁it ▁sound ▁like