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    Lectura en ingles

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    62 views22 pages

    Intro To Operatic Rules

    Uploaded by

    Monyesma
    Lectura en ingles

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    Guide to Operatic Roles & Arias Richard Boldrey PST...Inc Redmond, WA Copyright 1994 PST..In. ISBN 1-1877761-648, All rights reserved. This book or any part thereof may not bbe reproduced in any form whatsoever without written permission. 2nd Printing Printed in the United States of Amecica Copies ofthis book my be ordered by contacting: PST..Jnc. ‘Now a subsidiary of Caldwell Publishing Co,” P.O. Bor 3231 Redmond, WA 98073, 109-8-7-65-4-3.2-1 Contents lueble 149 bl at 149 + wb (boy) 1 soprano 150 sper: 150 * igh Ie clortur soprano 152 + ight Jy dara xprno (pa) 153» Bi capa 153+ Hp se open (pants) 156 fal Ice coloratora soprano 157 + Fall Irie ‘loranra sopano (pane) 158 Fal espana 159 fell lyie spine (pans) 162» Tighe drama colorturesopraco 162 *lighe dramaie Cilortura sopra (pane) 64 + sinc soprano 164 pinto soprano (Gana) 16 igh drama soprano 166 «pe dramas pat (pas) TG» fll dee calor soprano 168 fll desma open 163 mezzo-soprano 170 lis kc mex>sopano 170 ight ie ero toprane (pana) 171» Rill ce meso rpeane 171 + Fl Ie mesa feprane (gens) 173+ rss meno-rprano 174 * mate memo. ‘pra (pans) 176 contrat 177 consako 177+ conealo (ans) 179, tenor 181 ear lao 181+ cousterene 181» counerenot in) 184 cee tenor 15 = cami too ie) 106+ Eg i er 187» ihe Iya (is) 190» hl ye enor 190 spac enor 193 ¢ deamasc e001 194 erie no 197 ‘bartone 197 light Ini bone 197» ihe he base (in) 199 + ful ri batone 199* dramatic baritone 20 hei btone 205 ‘bane batone 206 ‘base 209 conic ber 209 + comic bss (kin) 210 + prc bas 210 + deamaticbus 214 Volce Categories to Arias... « treble 281 we (ho) 281 + webe i 281 soprano 281 soubrese 281 igh hee clorur soprano 284 + ight Ign calerturs woprno (pa) 287 «igh re soprano 285+ Eph le (ant) 293 » fl ye coloraara soprano 296 Fall ie ‘clr soprano (ane) 299 Fl te wpe 30 lye soprano pana) 306 light dramatic clout sprano 307 «light dreatie pote ders, a eadiion, a the ating syle required, even at pesonal tase, and then Adesgnate 2 cxegory. Bus, ike voces, roles are unique, and, forthe reaons ceed above, ‘many roles defy exrycregoriation, especially because roles can often be sung suceslly bby more than one vice pe. For singe, its no wonder that discussing vocal categories all seems to have resulted in 2 singer's Tower of Babel. However, the maze of casing voices is much easier co traverse ten we understand the erm involved, and keepin mind dhe basic purpose of oie at- ‘pores matching voices with peter, ecu consider the base erminoloyy Definitions ‘The basic terminology of wpranoto basindicates the general range ofthe voice Soprano (lelian “sopra,” meaning “above") is dhe highest category ofthe female voice, with a general range of Dro c", but extended at times to g below and Prabove _MeczoSaprane Kalin “alf soprano") isthe middle casegory of che feral voles, without ‘ome of the higher note ofthe soprano, with a general range of 10D. (Connatto(ieaian “agains the alto” o in contastto the high voce") is the lowest catego- ry of the female voice, with general range of Fo" (Councerenori a bigh male voice produced with a eat del of head resonance, having a range comparable to ether opens, meza-soprano,o contain. Tenor (lian “tenors” meaning “to hold,” derived fom the use of plain song melody at 2 frnaon fr ate wee pats around i he highest at caer of ‘he male voice, witha general range afer <, though the top may be only DF cor may goashigh ase. Baritone (Grek “barytonos," meaning "heavy cone) isthe mide category of the male ‘voice, without some ofthe higher notes ofthe tenor, witha genecal ange of ¢ 10, but eended a timer ar far a G below and shove. ‘Bese Bartone i a sbcategry of bas, with a general sage of AP to timer to E below and above. ar (alia “bas,” sncting low") isthe Ler cto ofthe mae vie, with ge0- eral range oF F oe, but extended at times B below and above. "but extcaded at ‘Then there is mote specific terminology that cafes the voice categories even ures ‘Keepin mind char these terms often refer wo either a voice, ora tole, and some- timer v0 both rle and oie. 12+ Introduction Soubrte (French “servant gil") refers now to any lightroiced rprano (or metzo-sopea- 120) comedienne. (See below for a more compete discussion of wubree) (Cooratera (German “Kolo,” meaning an "caborae ornamentation” ofehe melody) ‘refers tothe ability to sing quick curs leaps and fovitwe (Italian “Doutshed” melodie. e was once called came figura). Used in ether female or male rales, ‘bu usualy used only wid female voice, Spiel (Geaman “ssing") refer toa ight voice who does character roles, Utd with male ‘Buf Calan “buffoon, comedian”) refers to comic toles. Used with male voices, (Charaer (German “Charset refers to heavier voice who does character roles. Used ‘mainly ith male vais. Donivarectire (French “palfcharacter’) ree c light oles, usualy of an ingéaue. Used ‘with female voce, Leggro (cian “lght) and Lge (French “light refer co light voices, male or female. ‘Gee blow fora more complete definition of legge Ayre (Greek "yo," meaning “ofa lyre”) refers to mediumaized voices, wally of ‘warm colo, that specialize in long legac lines and romantic characes. Used with male and fersle voice. Spine (alan “pushed” or “urged on”) refers ro tenor and sopranos who have vigorous and energetic sie oies, wich more brillance chan warmth A spin is some- here between a Sreand a dramati Jegendcber (Geran “yout” refers to fll, ubstancal voices not quite as fly devel- oped as dramas Used with male and female voice. Dramatic refers to lange voces associated wich Wagner, Verdi, and Richard Straus. Used with male and female voier Hoch (Gecman “high” refers tothe largest, most dramatic voices. Used with male and female vies Falcon afer French memo-soprano Matie Corde Falon, 1812-1897) refers to drama ic soprano roles for which she was Famous, Some of these roles include Valentine (Meyebect, Ler Huguenot), Gili (Spontini, La Vere, and Alice (Meyerbecr, Robert le Diehl. Dugecon (lee French mezoseprane Louise Rosle Dagazon née Lefevre, 1755-1821) refers to mezzoagprene or even contrat oles for which she was mous. Some ‘of these soles inclde Pauline (Geéry, Sain), Nina (Dalayec, Ning), and Zemaide (oicdiew, Le Calif de Bagdad, The wim Dugeron is then ose t0 descibesub-argores of meazosspranor Dugeco:file ot jeune Dugazon (ight Iyeiemcao), premire Dugazon (al Iti mez), forte prmibre Dugazon (dea ‘matinee, and Dugezon-mire(characer mezzo of conta) “Heroic (Geaman “Helden” refers to the tenor voices able ro sustain te heaviss operatic oles, especially in Wagner operas. Trial (ater French tenor Antoine Tel, 1736-1795) refer to tenor role reqiting special ating abil Hastetile a Base-salle Preach “high satare™and"low secur”) refer to tenor and barton role of French opera fom Lally co Retest. The Bae ailewas act allya tenor with a suong low tester and so would be considered lighter ver~ son of our modeen fie barton Barton Martin (after French battone Jea-Blise Martin, 1768-1837) refers vo baronet with an extraordinary range, ull igh i cexcue, capable of reaching into the tenot ange avalebarton refers to «barton who bas good look, acting abilcy and voice ranging from Sito dramatic Tiefer(Geaman “deep” fers vo the lowest male and female voices, So where do we go from her? To help te these terms and thei meanings together, look ‘over the chars beginning on che nex page- Tey ate arranged In an ery reference form. This article is ineended only co hep clarify che dizying numberof texas thrown out bout voices and operatic roles, which often, as we've eee, have different meanings. However, voice categories can never filly descibe your voice, anymore than General nierat—Hitory can Gly describe the Declaration of Independence. At bese they cn lend you tothe area of repertoie that has consistent characte. The eategorzation oF your voice ia peronal mare, something tha can only come from your joumney of sedi covery, and ulimately is in your hands alone. Use every means available co help you Aefine your voice and find the roles mose beneficial for you to study and to sing. Talk co as many other singer and voice teaches as you can. Interact with opera conductor and directors. Read biographies of singers and listen to what they have to sy about their own voices and the roles chey have sung. Seay all the arias for any role, a each one will emphasize a different aspect ofthe kind of voice most suitable for the role. Listen recordings of voces similar to your own, but be awate that sizeof voice is dirguited on recording. Even bewer, nen eo a may lve performances ax pouble. Als, expetimeat with neighboring voice categories, under clote supervision of your voice rache, coach, or mentor. As you expeiment, ak yourrelf how your unique voice responds to the new range, csiura, demands on weight, dimbe, and characet. Be at open st you can tothe proces of finding your voce, elining that cere ae no final anwes, only suggestions to ‘ide you i you search co match your voice co a eutable eperaire. ‘With ll of che problems and confasion peraining to voice catgore, and allo the post- be licratue to wade cough, is of great benefit fr you to now your own category o¢ caegories, Guide to Operate Rakes Arias serves that parpore, bringing together arias of ‘one voice category in ne volume, co that each of you ean have a peronal ellecion of aias—all of which you can sing, Introduction + 13 Voice Categories — The Major Categories and their Sub-Categories in English : 5 i Sopaio | Hesopae — | Gnuae[ Counenmat [Tar [Baie [ an Ba Serene | Sexes | Gurncer Genie] chance Gen Sos Se Tine =| tigen | Game | Comm Six || shine Light Lyric. Light Lyric Light Lyric: Light Lyric Faligie | Ba Sim | SO, Raligie | Raltpie [eee Falipae [Fatty | tn ae Lig Danae Exon ik Drnale Dana can Sh Fal Dama ones FalDamic | Danae | Danae Talbvanaz | Damas] Damas] Bama Bind Tiamat erie [Hew ‘Voice Categories — The Terms by Nationality Tight bye Colaratur Soprano Soprano lggeo-iieo epee ate ae ~ Fal Coa Sep Top ago ‘Sepranedenicrsare Bees inom Tigh Dansk Ganson Spare Tope da Topas ere, ‘leans Gees Spans Soin rm — a Tighe Lic Soprane ‘Soprano Feggeo-ico "Sopra ique tase : Fale Spee pases Spas ie bese : oor Som a ere = Fail Dame Spas Spe a Fin Resa Serme Tic Mesa Sap Nianpao eepme eases ere a “Tal pi Mera Sopan ‘a pro Tes Nicipr ‘ee Mer Dramnic Men Soprano Wiesoarpte dammaoo Bis Dr Consiio Courts Conucio Diane le iF le ie ‘ST woponponay agish alin French Serman Cramer ro came = ese Gmc Tawr to Fara ior __ es Serre Tyee I Tee fale Tao Tne ae Raee Fock __EEEie . Fal Tar Tenis Teer iaeaTos a Danaea Tian ara rch Fewer Tess toe : : oc Tesi Far Tee “wd tle fae Spee enee is aioe Tae ‘ais ae Bacono ae facut (her Baron aa 5 a oe nas ier otc laa Bey mann Eaeren Bana aie ‘aon iio Bais Cig ikea = Haske Bazone Bano drmaco Baro ‘Base Barizone Basse de caracctee Gomis ad iia Soran ew Tawa iad Seat aac oF fe aia = ae SS bes ‘Najgibeing enegove a se oe (eo Tosi) abo o baow, Female wales Wags Tear 7a ‘Timbre Yates Galenges ois 7 ie c abe mais bak a = SiifiScren, fool ligne ale ai 7 CE soprano Ligne ode = ae a : ing : Blip dele ere ro tht Sopane i wow wil eae ‘otloud _ cs Tala oe aa Danse Tikes eked ce, a Nidexe make Taye mae Eke See Se al Daal male = Ty Sp Gir tan Bis hemy. Slam aked so maw, She ar meagre Eyer deen weldedigct analle capinah a BB ese — = pet ry Tee i Meso Sopnne ‘Sen toughout Bal td eee” pam elim Me Spno m8 Danaie elie alr MenoSopran0 Se ieee ‘woREMpaRG «OT Ti wopenponay — 7 — i = eee : a a a Tr Coaralro . ens pyran a es a — Coneraleo _ : Bei ™ metallic thick _penctration aaron So rs 2 oe : throephou core eee ee [Soke eee eee Sessa : = = em neat ee __ Bie a = see ia eee ae or ti. ak. aan ae esas ao tee ‘Light L (Ge—a) kel Z Fulllyric eA) beigheand hey penetration as es ee, Zo ae balanced Pow re es aoe ee Retone ei aeeenl pense ie sb dyramice huacteiation — aisle alesis me om ee eee same ‘WORDAPORU]- BT 20 + Introduction A Close Look at Each Voice Category ‘Treble “The ble jal or boy) woe ie wed spain ia oper or ewo obvious reson: mos opet= Mie charac se dal, apd the child's vole usualy ot suited for the big seg oF for finging over a large orchera. But occasionally «composer specifi a gid ot «boy soprano ot ‘koto sng particle role ‘Many tre soles, even done for male children, ae often performed by young adule women ‘vith ight voles, Te thre Boys in Mona's Die Zable are peifnmed aoe by thtct lighewoied young women a they ate ky pecadolscent bays. Some ofthe bet kaown ucble roles ae wally and quite suceslly cng by young womea—soprano is «lower equitlent eo the fill rc soprano and fl rc col orcura soprano. She may or nt havea lexible voice, but she docs have filles and watch The fil re merzounpeano isthe choice of many ex and mide nineeeah-centuy French composes for sei young ound herincs—thae Include Masene’s Chale (Were) ‘and Dukeing (Den Quist), Gounot’ Spo (Sap), and Thomas's Mignon (Migs) ‘opens of most othe lnguagrs, including Zain, the fal cic meso soprano is commonly ignored, che lighter or mote dramatic mers spranc ing pete by most composes. 26 - Introduction “Two popular pass rls for che il Ipc mewo-soprano ae Romeo (Bellini, J Cape e ¢ ‘Mantech and Sst (Morar, La lene di Tis). Dramatie Mezzo-Soprano ‘The dramacc mezaosoprano is the female "hese in most opers. She is de moter, the witch, the whore, dhe dowage,eomeries even the queen. She la Evo vice of Verdi and ‘Wagner, aswell a ofthe composers of Eastern Europe and Russi, She abo apps im most cweneth-entry oper wren in Amica or Europe Many ofthe most dramatic meo-soprane roles, expecially those of Wagaes, a ofen sang by dramatic sopranos aswel Contratto ‘The contra (Fan, Germ.Al isthe lest female vice, who sings often down to alow g and seldom goes above e though some caletcura contralto sich at Mari Horne ci ig, ‘exly 104 high bore The conta voice i nally darker chan a memo-speeno and makes more use ofthe ches mixta isin mor cates leble and let warm a wel Before 1800, she contra in opera wa the muse of maid, oladyin-iing She wa often & ‘rong, normaly a comic characte. After 1800, the contralto began to ge mete ole, chs Erde (Waynes, Das Rheingld and Sige, he Princes (Puc, Sor Anal), and Pauline (Cehaikovly, Pigne Dama) Iterestngy, in Resin, the contralto characte, for example ‘Ghvice (Prokien, Te Lave fr Tee Onnged, was of young pecan tha het wees coumerpars. ‘Mero-coniro vasa nineenth-encty designation for alec could be sung by cher ® ‘ezo-toprano ofa cone, and the tem is alo aed fra vice that i nt as high a & ‘meno soprano and nota deep 34 canine. Memo-contto i proper designation fot wv ral major role, including Uleica (Verdi, Ur Ballo in marcbere), Amnetie (Verdi, Aid). Carmen (Bizet Creme, and Dali (Ssie Stns, Samon Dalle. Merao-comtaio als plies to Rosin’ douens of florid tle, many of chem pants cl, met of wich Macy Hloene~acualy colori contalto—bas made ber ova, Castrato ‘The camat wa a crated male singer whote voce i ix mtu combined the pity and ‘ange of pepubescent boyhood with the swengh and bellanes of dst manhood, ‘The caazo was ued inthe Reman Church fom aboue 155 co shout 1925, ad in opera fom the ety 1600s ro 1830. In Monteverdi's Op, a recor sng the ed oe hil a cases to sang ce minor cles In Venice in the seremcenth censuy, moat opera roles were wing BY ‘women or carrey respective ofthe opera charac’ gender From 1680 co 1720, when ‘perc writing was becoming more vuoi nd elaborated uimary male role was wn) ‘ssgned toa cso, che seoondary male ol often to 2 erro, while Kings end old men st2 tle were tenors. The golden age ofthe opera catrato was fiom 1700 0 1770, when most Samous easua had sebname, sch ar Senesne and Cael Countertenor 5 “The cnuntecenot (aed a male alin some countries is telatvely modern phenoinenon It isa male vice singing in a female eine, though notin flit, The walle soprano cove teaznoe has the range of « modem meno-oprto, che so-alled alto countertenor fas the sages ofa normal conto. ‘The countertenor is wed in oper in oe of thee ways (1) ata placement for Baroque ler cgay sung bya carn, 2) in roles pecially wren forthe countertenor voice and (3) Jn oes ha were intended for other voies bu have been spproestd by he coanerenr. Baroque role. The counterenct is in many ways 4 macral ceplacement for the cro ia Baroque oles. Two problems, oweve, ss in hi rates, Ft dhe couatetenoe vole is Introduction + 27, 1 fen noe at dramatic ae the casa who sang some ofthe heroic pares, Scand, some ofthe 1 Baroque sopano fla writen out f the range ofthe normal ceuatertenoe and ae tere foce beset appropsited cher by a eno o a pants role fo eoprano. Counters Roles. Since 1950, seer composes have wren specie pet roles fr eo tenenos, the mest famous of which i Oberon (Bien, Midummer Night Dream). Other Imporsane twenith-ceneuty cole writen for countertenor are Apolo (Bricten, Death ft Veni), Akdaten (Glass, Atbnaten), Edgar (Reimann, Lea), and the Miliary Governor (Wei, A Nigh tthe Chine Opes. Aprpiatd Rl. Roles az ave bees ena (sly meso spine) pants roe ate beg “ncn ung by exaneenor aswel cles ke Fyodor (Masog Bors Gdn), Ole (Gl, Oreo Burs, snd Oro (Str, Die Federman). Other spe of cole that councertnecs have adoped ze those wren forthe very high tar hing, such the Aswologer (Rims Korskon, Le og do the elder oer ween forthe French barteconre. Tenor Altino “The tear lino tenor coiaine is very high enor who goes nc the ble range without ing iso. Te most famous tenor alin fle the Asuologer(Rinsky-Konskov, Le op

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