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In opera and musical singers often have to feel the pulse without having an instrument showing it to them. In La donna e mobile there is a waltz accompaniment but many arias or tunes do not have an accompaniment like that. Even in that particular aria there are times when there is no waltz accompaniment. I have tried to sing waltzes without accompaniment myself and it can be a bit tricky.
What do opera and musical singers do in order to feel the pulse of the music?
SOMEONE has to feel the pulse! Often the conductor of an orchestra or a piano accompanist. Why shouldn't it be the singer?
Admittedly, musical lore does joke about singers' inability to count (along with the drinking habits of brass players, the stupidity of viola players etc.)
"How do you know it's a soprano knocking at the window?" "Because she can't find the key, the knocking isn't in time and she's trying to come in at the wrong place anyway!"
But, no excuses! A singer is able to feel the beat as well as any other musician!
In the theatre, there are specific issues if working with partially or completely recorded music on a 'click track'. Maybe the conductor hears the click in headphones and assists the singer with gestures. Or there are other technical approaches to essentially the same thing.
But don't underestimate a singer's ability to hold tempo. When the Whitney Houston version of 'I will always love you' was a staple of karaoke nights and talent contests, the backing track started with a chord (to establish the pitch) and four clicks (to establish the tempo and the starting point), followed by nearly 45 seconds of silence. The ability of un-trained singers to reproduce the emotional opening section then come in with the band dead on time could be uncanny!
It's the job of the conductor to make sure the singer knows exactly where they are in the music. If the singer has trouble singing in time then the conductor has to follow them.
For musicals there are normally monitor speakers for the stage. Very occasionally in-ear monitoring with a click track is used.
Usually I would use a metronome (yes, singers can use metronomes too) to help me keep in time while singing. https://www.voicelessons.com/blog/tips/tips-to-improve-your-singing-voice/ But what if I'm performing up on stage and can't use a metronome?
While performing piano I count out the beats in my head. But it's a bit more complicated to count in your head while singing at the same time. Usually, I would tap my foot to the beat in subtle way or something, so that I know I'm sure I'm singing in rhythm. This helps me to keep a regular pulse whilst still performing. A lot of musicians/singers that I know use this technique.
Most singers (that I know) use a metronome, clap, tap their foot or march up and down while singing to keep a regular pulse. By doing this regularly (while practising), it should train you to feel the pulse. Of course, on stage, you can make these movements subtler.
This Music S.E. website might also be helpful: I am a singer who has problems with tempo
singers often have to feel the pulse without having an instrument showing it to them
I don't know what examples you have in mind when you write that, but in general if there's no instrumental pulse then the singer is in charge and everyone else has to follow.
What do opera and musical singers do in order to feel the pulse of the music?
They listen, they watch, and sometimes they lead.
Musical theater accompaniments typically establish the pulse very clearly. Like La donna è mobile, the bass plays the strong beats and the higher instruments play "off" beats or a syncopated pattern. This technique has been common since the 18th century.
Sometimes, an accompaniment might consist of sustained chords with little to no movement to establish a pulse. In these cases, the singer may follow the conductor's gestures, but in more professional contexts, the conductor and the players follow the singer, especially if the singer has shorter notes that do establish the pulse. Frankly, however, this seems to be fairly uncommon. A brief search for examples did not bear any fruit.
You have not specified what standard the vocalists possess, and that will vary greatly - some amateurs will have a wonderful sense of timing, some pros not so good - and vice versa.
So as it stands the question is regarding all opera and all musical singers. The orchestra (or band) may well be hidden down in the pit, not able to see the singer well at all - and mostly will be reading the dots, sometimes for the first time. They will be aware that the conductor knows his job best - conducting, so will be relying on the conductor for timing and cues. Why not? The singer will be doing the job they know best - singing, and may well be blissfully unaware of timing issues.
So, the safest is for the players to follow the conductor, who will follow, and sometimes prompt, the singer. In opera, musicals (and just about any other vocal lead music), the singer always has precedence. If they go wrong, everything will sound wrong, and it's up to the players to make them sound 'right'. If that means speeding up, slowing down, missing a beat, whatever, that's what needs to happen.
You cannot stop in the middle of a performance and tell the singer they're speeding up/slowing down. After, maybe. But in the moment, the band plays on, as we say.
So, singer sings blissfully away, conductor watches them, conducts, and everyone stays together. Is there a better way?
P.S. if there's only a piano for accompaniment, things are so much easier. Harry Connick Jr (I think), has a fabulous you tube , where he gets the audience back in time during a number. Well worth a watch. Please, someone, find it for us.
Harry Connick Jr link provided by Laurence Payne: https://laughingsquid.com/how-harry-connick-jr-got-his-clapping-audience-back-on-beat-with-one-simple-note/#:~:text=While%20performing%20%E2%80%9CCome%20By%20Me,extra%20note%2C%20Connick%2C%20Jr
