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From:  mikebarb@n...
Date:  Fri Sep 8, 2000  2:28 am
Subject:  Re: [vocalist-temporary] Miller's Soprano book: a partial review




Isabelle Bracamonte wrote:

> Soubrette (which I've known as light lyric) and coloratura (which I've
> heard called lyric coloratura) often overlap, and their roles are fairly
> self-evident. He gives the dramatic coloratura Cleopatra, Queen of the
> Night, Konstanze, Semiramide, Norma, Lucia, Violetta, Abigail, and
> Trovatore's Leonora, emphasizing that, although the roles aboveare of
> different weights ("like Norma!" I thought to myself in exclamation
> points) these roles are NOT suited to the coloratura voice. He says that
> Gilda is best suited to the dramatic coloratura, often sung by the lyric
> with extension, and less successfully sung by the coloratura or
> soubrette.

I would have stated it differently. To me Miller seems to list two types of
coloratura voices--soubrette/coloratura and dramatic coloratura, and
suggest one other type--"facile lyrics." This fits my understanding of
soprano types. The soubrette/coloratura is the fach that I normally think
of as "the coloratura soprano." The soubrette/ coloraturas are the light,
high, often pure-voiced songbirds. In contrast, the dramatic coloratura
fach sung by sopranos whose voices have some weight --rich lyric or heavier
(to me). Sutherland or Te Kanawa often sing roles of this fach. Queen of
the Night, Konstanze and Violetta are usually considered quintessential
dramatic coloratura roles. (Leonora, Il Trovatore--a dramatic coloratura
role??)

While I thought that his discussion of the different types interesting and
useful, I was also left with many questions. I think he could have been
clearer. For example are "facile lyric" another name for lyric coloratura
or is it the lyric/soubrette? What is the difference between a large
lyric and a lyrico spinto? or the lyrico spino and a spinto? For me it
would have been helpful if he had dropped a few names. I also have one
minor, silly peeve. Miller states "in many ways the lyric soprano is the
ideal operatic voice." What? I wish. Most of the major, juicy operatic
roles are sung by those with more dramatic voices. Don't get me wrong, I
adore hearing a good lyric soprano. I am a lyric soprano (most likely).
But alas lyric sopranos are usually cast in roles where the character has
too much good sense than to leap off buildings or cliffs, to poison
themselves, etc. Such a shame. ; )

Barbara Roberts




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4097 Re: Miller's Soprano book: a partial review thomas mark montgomery   Fri  9/8/2000   2 KB

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