Vocalist.org archive


From:  Patricia M Smith <dgcsorcmgr@j...>
Patricia M Smith <dgcsorcmgr@j...>
Date:  Wed Apr 11, 2001  4:07 am
Subject:  Re: [vocalist] Young dramatic soprano rep


Karen's suggestions are certainly geared towards the dramatic soprano.
IMHO, "Un Bel Di" from "Madama Butterfly", in particular, takes a lot of
control, which may not come until your voice matures more. "Porgi Amor"
from "Figaro" & "Voi lo Sapete" from "Cavalleria" are probably a good
place to start...dramatic both in fach & as a role without being "barn
burners". "My Man's Gone Now" from "Porgy & Bess" will require the
inflection in the voice that you frequently hear in gospel music or in
spirituals for it to be effective.

Alas, it frequently seems like by the time one's voice has matured enough
to sing some of these roles, you get told you're too old to play the
parts (unless you're a superstar!).

You & your teacher need to choose your repetoire wisely. A word of advice
from a "superstar" of the past, Pauline Garcia-Viardot: "Don't do as I
did...I wanted to sing everything & I spoilt my voice". Though she taught
until shortly before her death in her late eighties, I understand that
she "retired" from professional singing at the age of 42.

Pat


On Mon, 9 Apr 2001 12:29:54 -0400 (EDT) Karen Mercedes <dalila@R...>
On Mon, 9 Apr 2001 12:29:54 -0400 (EDT) Karen Mercedes <dalila@R...>
writes:
> From LE NOZZE DI FIGARO, you should look at the Countess's arias
> instead
> of Susanna's. Also Elettra's arias from IDOMENEO, Fiordiligi's
> arias from
> COSI FAN TUTTE, and Konstanze's arias from DIE ENTFUEHRUNG AUS DEM
> SERAIL.
> These are your best bet from Mozart operas.
>
> From Verdi, you might take a look at Leonora's arias from LA FORZA
> DEL
> DESTINO, Amelia's arias from UN BALLO IN MASCHERA, and possibly
> Aida's
> arias and Elvira's arias from ERNANI. Also look at the soprano part
> from
> Verdi's REQUIEM.
>
> Other possibilities are "La mamma morta" from Giordano's ANDREA
> CHENIER,
> and "Senza mamma" from Puccini's SUOR ANGELICA, and "Un bel di" from
> his
> MADAMA BUTTERFLY (possibly also Manon's arias from Puccini's MANON
> LESCAUT). Also "Ebben..Ne andro lontana" from Catalani's LA WALLY.
>
> In the French repertoire, take a look at "Il est doux, il est bon"
> from
> HERODIADE, and "Pleurez mes yeux" from LE CID, both by Massenet.
> Also
> "Divinites du Styx" from Gluck's ALCESTE.
>
> From von Weber's DER FREISCHUETZ, look at Agathe's arias. ANd look
> at
> "Gluck, das mir verblieb" (Mariettalied) from Korngold's DIE TOTE
> STADT.
>
> The young Wagnerians I know all seem to start out with "Einsam in
> trueban
> tagen" (Elsa's dream) from LOHENGRIN, "Johohoe!...Traft ihr das
> Schiff"
> (Senta's ballad) from DER FLIEGENDE HOLLAENDER, and "Dich teure
> Halle" and
> "Allmaecht'ge Jungfrau" from TANNHAEUSER.
>
> IN English, take a look at "My man's gone now" from PORGY AND BESS.
>
> There are a few dramatic mezzo arias that seem to turn up in young
> dramatic sopranos' repertoire on occasion: "O don fatale" from
> Verdi's DON
> CARLO, "Voi lo sapete" from Mascagni's CAVALLERIA RUSTICANA (a
> "zwischenfach" role), Giovanna Seymour's aria from Donizetti's ANNA
> BOLENA, and Adalgisa's short aria from Bellini's NORMA; also "When I
> am
> laid in earth" from Purcell's DIDO AND AENEAS.
>
> In English, you might try "Embroidery in childhood" from Britten's
> PETER
> GRIMES, and "My man's gone now" from Gershwin's PORGY AND BESS.
>
>
> KM
> =====

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