The emotional qualities of operatic performance are undoubtable and an integral part of a performance. Might there be a trace of these emotions in the overtone spectrum of an operatic tenor? Using myself as an experimental subject, I examine whether or not this is true using recordings and fourier transforms thereof to study the overtones. Though no clear pattern is recognised, the study seems to suggest that a "sad" emotion and bodily posture lends itself to an optimised way of singing.