British Intendant of any major German speaking opera house. Das rheingold libretto pdf 2008, Nikolaus Bachler became General Director of the opera company.
In October 2015, the company announced the extensions of the current respective contracts of Bachler and of Petrenko through August 2021. This page was last edited on 28 December 2017, at 00:58. This article is about music. Unsourced material may be challenged and removed. It prevents singers from being asked to sing roles which they are incapable of performing. Therefore, the role is often sung by a lyric coloratura.
Can often have small voices lacking the richness and resonance of a dramatic soprano. Must be able to do fast acrobatics with easy high notes. Description: The same as above, only with a more dramatic, rich voice. Often heavier and more lyrical than a coloratura soprano.
One must not mistake the Mozartian dramatic coloratura soprano with the Italian dramatic coloratura soprano. A singer that sings Konstanze, Donna Anna or Fiordiligi can not necessarily sing the Italian dramatic coloratura parts, due to other vocal demands. Imogene, Leonora and Violetta require a dramatic soprano voice and are most often sung by dramatic sopranos with an agile voice that can easily produce coloratura and high notes. Giuseppe Verdi wrote many parts like this in his early years. Description: A beautiful, sweet light lyric voice usually capable of executing florid passages similarly to that of a coloratura.
The range is usually intermediate between that of a coloratura and lyric soprano. Most sopranos start out as soubrettes, changing fach as the voice matures. However, there are several lyric sopranos that possess a quantity of many of these vocal attributes, thus allowing them to sing a broader variety of roles. Nevertheless, the core of the true fundamentally lyric voice does not encompass such traits. Innocence, vulnerability and pathos are usually conveyed in the music written for the characters portrayed by the lyric soprano because of this endearing simplicity.
This fach is also famous because the voices usually remain especially fresh until advanced age. However this is not accurate in terms of these singers’ vocal production. A lyric dramatic soprano has a lyric instrument that can also create big sounds, cutting through an orchestral or choral climax. This voice is sometimes referred to as a “young” or “youthful” dramatic soprano although this term doesn’t necessarily refer to the singer’s age but rather to the tonal quality of the voice.
This fach is more clearly delineated in the German system than in the American system. Depending on the singer, however, this voice type can be versatile, as it lies at neither extreme of the soprano spectrum. Spintos are occasionally able to take on lighter mezzo roles, or, conversely, lyric and even coloratura roles. Description: Characterized by their rich, full sounding voices, dramatic sopranos are expected to project across large orchestras, a feat that requires a powerful sound. Although most dramatic sopranos have a darker, more robust quality to the voice, there are some that possess a lighter lyrical tone.
In these instances, however, the substantial amount of volume and endurance normally associated with the dramatic soprano voice is still present. The darker voiced dramatic soprano may even make a foray into the dramatic mezzo-soprano territory with great success. Two roles mentioned above, Salome and the Marschallin, are relatively high dramatic sopranos and require that the soprano can endure long stretches of very high tessitura. Richard Strauss himself said that Salome should be sung by someone with the flexibility of a dramatic coloratura due to the high tessitura. The voice is substantial, very powerful, and even throughout the registers. It is immense, stentorian and even larger than the voice of the “normal” dramatic soprano. Although the two voices are comparable and are sometimes hard to distinguish between, this voice has even greater stamina, endurance and volume than the former.
The top register is very strong, clarion and bright. Today they are often played by mezzo-sopranos and sometimes even by sopranos. The voices are similar, giving rise to the term ‘short soprano’ i. In fact, many lyric mezzos with strong extensions to their upper vocal registers make the transition to singing as sopranos at some point in their careers. Description: Dramatic mezzo-sopranos have ranges very similar to a dramatic soprano. B-flat only at the dramatic climax.