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Do you love the sound of an operatic voice in full, glorious wobble mode - or yearn for the purer tones of a vibrato-free voice? Or are you not really bothered? Louise Fryer convenes a panel of experts to debate the vexed issue of vocal vibrato.

- Richard Bethell is a music researcher and the secretary of the National Early Music Association; he argues that vocal vibrato was hardly ever used until the 19th century. So why are modern opera singers so obsessed with it?

- Peyee Chen is a classical soprano who demonstrates vibrato by singing a piece of music both with and without that characteristic wobble. Why can't she do both?

- Dr Helena Daffern is a scientist and classical singer who explains the science behind vocal vibrato. Is it something natural, or something that singers put on for effect?

- Dr John Potter is a classical tenor and author; he worries that too much of a wobble can mask a singer's personality. Why should power and tone be more important than person?

- Prof Janis Kelly is a classical soprano who admires the warmth and womanly qualities of the soprano vibrato voice. Why should people suppress it?

Listen to the panel's spirited debate in full by clicking through to Prom 29: Mussorgsky - Khovanshchina. The discussion was broadcast during the second interval.

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