In a message dated 11/25/00 9:21:03 PM, verdirules@h... writes:
<< Of course I understand that technique is most important, but surely there has to be a middle ground when it comes to operatic arias-- where I can forget the "-inas" and also wait on the meaty, ka-pow arias until I know I am secure. I would rather do art songs then study a soubrette role that I will never, ever use. As a few other people have mentioned, trying to make the voice smaller is just as damaging! >>
I don't think that anyone is suggesting that you try to make your voice smaller--I think they are recommending that you sing rep that is appropriate for the voice you have now, with the voice that you have now, not what you may (or may not!) become. Nobody can say for certain that you will be a dramatic soprano--you'll just have to wait and find out. You could end up a mezzo with an upper extension, for example.
For now, you probably should not be singing rep from roles that you would not be able to sing through completely. That probably means lyric roles--many of which are surprisingly demanding. A single aria does not give any idea of the vocal, emotional and energetic and resources you'll need to sing an entire role successfully.
Besides, since when is Zerlina strictly a soubrette? I think it's much more interesting to have a lyric cast in the role, as long as the Donna Anna and Elvira are both larger voices. Zerlina is VERY sexual, and a lyric voice can bring out more of the womanly (as opposed to strictly girlish) aspects of the character, and is less likely to get overpowered in the ensembles.
You think because you have a biggish voice you'll never, ever sing the lighter arias? Maybe you should think again. I have a CD of the great Welsh dramatic soprano Margaret Price singing Mozart arias. She made her debut as Cherubino!
Judy
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