Dramatic soprano
In this article, we are going to explore Dramatic soprano and its impact in different contexts. From its origin to its current evolution, Dramatic soprano has been a topic of interest and debate in various areas. We will analyze its importance in contemporary society, its relevance in the academic field and its influence on technological development. Additionally, we will examine how Dramatic soprano has shaped people's opinions and attitudes over time and how it continues to be a reference point in today's world. Through this comprehensive analysis, we hope to shed light on Dramatic soprano and provide a more complete view of its impact on everyday life.
A dramatic soprano is a type of operatic soprano with a powerful, rich, emotive voice that can sing over, or cut through, a full orchestra. Thicker vocal folds in dramatic voices usually (but not always) mean less agility than lighter voices but a sustained, fuller sound.[citation needed] Usually this voice has a lower tessitura than other sopranos, and a darker timbre. They are often used for heroic, often long-suffering, tragic women of opera. Dramatic sopranos have a range from approximately low A (A3) to "high C" (C6). Some dramatic sopranos, known as Wagnerian sopranos, have an exceptionally big voice that can assert itself over a large orchestra (of more than 80 or even 100 players). These voices are substantial, often denser in tone, extremely powerful and, ideally, evenly balanced throughout the vocal registers. Wagnerian sopranos usually play mythic heroines. Successful Wagnerian sopranos are rare and often Wagnerian roles are performed by Italianate dramatic sopranos.
Dramatic roles
The following dramatic roles are for dramatic sopranos:
- Amelia, Un ballo in maschera (Verdi)
- Arabella, Arabella (Richard Strauss)
- Ariadne, Ariadne auf Naxos (Richard Strauss)
- Cassandre, Les Troyens (Berlioz)
- Chrysothemis, Elektra (Richard Strauss)
- Elisabeth, Tannhäuser (Wagner)
- Elsa, Lohengrin (Wagner)
- Fata Morgana, The Love for Three Oranges (Prokofiev)
- Gioconda, La Gioconda (Ponchielli)
- Giulietta, Tales of Hoffmann (Offenbach)
- Helena, Die ägyptische Helena (Richard Strauss)
- Die Kaiserin, Die Frau ohne Schatten (Richard Strauss)
- Leonore/Fidelio, Fidelio (Beethoven)
- Maddalena, Andrea Chénier (Giordano)
- Marie, Wozzeck (Alban Berg)
- Minnie, La fanciulla del West (Puccini)
- Norma, Norma (Bellini)
- Odabella, Attila (Verdi)
- Queen of Hearts, Alice in Wonderland (Unsuk Chin)
- Salome, Salome (Richard Strauss)
- Santuzza, Cavalleria rusticana (Mascagni)
- Sélika, L'Africaine (Giacomo Meyerbeer)
- Sieglinde, Die Walküre (Wagner)
- Turandot, Turandot (Puccini)
- Valentine, Les Huguenots (Giacomo Meyerbeer)
- Vanessa, Vanessa (Samuel Barber)
Wagnerian soprano roles
The following Wagnerian soprano roles are for dramatic sopranos:
- Brünnhilde, Die Walküre, Siegfried, Götterdämmerung (Wagner)
- Elektra, Elektra (Richard Strauss)
- Isolde, Tristan und Isolde (Wagner)
- The Wife, Die Frau ohne Schatten (Richard Strauss)
- Senta, Der fliegende Holländer (Wagner)
- Kundry, Parsifal (Wagner)
- Ortrud, Lohengrin (Wagner)
See also
References
Notes
- ^ a b Coffin (1960)[page needed]
- ^ a b Boldrey (1994)[page needed]
Sources
- Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing. ISBN 978-1-877761-64-5.
- Coffin, Berton (1960). Coloratura, Lyric and Dramatic Soprano, Vol. 1. Rowman & Littlefield. ISBN 978-0-8108-0188-2.
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