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    IPA Source Mezzo Arias

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    Esteban Rajmilchuk
    The document discusses different categories of lower female voices in opera - lyric mezzo-soprano, dramatic mezzo-soprano, dramatic alto, and low alto. For each category, it provides descriptions of vocal qualities and roles. Examples of singers in each category are also given, along with some representative arias.

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    IPA Source Mezzo Arias

    Uploaded by

    Esteban Rajmilchuk
    677 views2 pages
    The document discusses different categories of lower female voices in opera - lyric mezzo-soprano, dramatic mezzo-soprano, dramatic alto, and low alto. For each category, it provides descriptions of vocal qualities and roles. Examples of singers in each category are also given, along with some representative arias.

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    The document discusses different categories of lower female voices in opera - lyric mezzo-soprano, dramatic mezzo-soprano, dramatic alto, and low alto. For each category, it provides descriptions of vocal qualities and roles. Examples of singers in each category are also given, along with some representative arias.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    677 views2 pages

    IPA Source Mezzo Arias

    Uploaded by

    Esteban Rajmilchuk
    The document discusses different categories of lower female voices in opera - lyric mezzo-soprano, dramatic mezzo-soprano, dramatic alto, and low alto. For each category, it provides descriptions of vocal qualities and roles. Examples of singers in each category are also given, along with some representative arias.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    31/3/2020 IPA Source Mezzo

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    Home Mezzo

    Mezzo and Alto Arias

    Lyric Mezzo Dramatic Mezzo II


    Dramatic Mezzo I Alto 

    Return to the Female Arias Home  


     
    THE LOWER FEMALE VOICES
    For the young female singer with a lower voice, the choice of Fach is relatively easy. The mezzo-soprano is classi ed as either lyric or dramatic. The singer of the Lyrischer Mezzosopran
    (or Spielalt), like the soprano Soubrette, must have a youthful appearance and a lighter, exible voice with a warm quality. The dramatic mezzo has a louder voice with metallic bite.
    Physically she must command more authority on stage and must not necessarily have the youthful appearance of the Lyrischer Mezzosopran. The Dramatischeralt voice is the true
    dramatic of the lower women's voices. Her voice is a dark, heavy instrument, with metallic coloring and a well developed top and bottom ranges. Her repertoire is similar to the
    dramatic mezzo but leaves o he lighter higher, youthful repertoire. The true low alto (Tieferalt) is a rarity in opera. Her duties include only the lowest roles, with Verdi and Wagner
    making up the bulk of her repertoire.
    Those arias most often heard in German Theater auditions are marked with *. Those arias heard in audition but not normally sung by the singer of this Fach in the opera house are
    given in parenthesis.
     
    LYRISCHER MEZZOSOPRAN/SPIELALT (g to b'')
    Lyric Mezzo
    A exible, expressive voice; an excellent actress.
    Although the name Lyrischer Mezzosopran would lead one to believe that this Fach belongs to the Lyric voices The older name of Spielalt better describes his voice in relation to the
    other voice categories. She is the mezzo counterpart of the Soubrette. Her voice is a exible, mellow instrument lacking the metallic ring and broad legato line. Her vocal color in the
    German theater can often be rather light, sounding almost like a soprano. She should look good in pants and be willing to sing quite a few roles of lesser importance. The important
    roles for a Lyrischer Mezzosopran are Cherubino in Le nozze di Figaro, the Komponist in Ariadne auf Naxos, and Rosina in Der Barbier von Sevilla. Although a Lyrischer Mezzosopran
    with a fuller voice may use the Carmen arias in audition, she rarely sings this role in a full production.     
    Singers: Frederica von Stade,  Lucia Valentini-Ferrani,  Cecilia Bartoli, Jennifer Larmore, Suzanne Mentzer and  Theodora Hanslowe.
    Examples: Frederica von Stade, Semiramide; Lucia Valentini-Ferrani, La Cenerentola

    Komponist * Ariadne auf Naxos Sein wir wieder gut


    Rosina * Der Barbier von Sevilla Una voce poco fa
    (Dorabella) * Così fan tutte Smanie implacabili
    Cherubino * Figaros Hochzeit Non so più cosa son / Voi che sapete
    Orlofsky * Die Fledermaus Ich lade gern Gäste ein
    Niklaus * Ho manns Erzählungen Couplet (Une poupèe aux yeux d'èmail)
         
    (Carmen) Carmen Habanera / Seguidilla / Karten-Arie (Card Scene)
    Cenerentola Cenerentola Non più mesta
    Preziosilla Die Macht des Schicksals Alfred suon del tamburo
    Siebel Margarethe (Faust) Faites-lui mes aveux
    Sextus Titus (La clemenza di Tito) Parto, parto
    Charlotte Werther Va! laisse couler mes larmes
     
     
    DRAMATISCHER MEZZOSOPRAN (g to b'')
    Dramatic Mezzo I  
    A exible, metallic Zwischenfach voice with a good top register and a dark color that often develops with age into the dramatic alto Fach.
    The Dramatischermezzosopran sings some of the meatiest roles in all of opera. The title role in Carmen, Eboli in Don Carlos, Amneris in Aïda, Octavian in Der Rosenkavalier, and Fricke
    in Die Walküre. Being a Zwischenfach voice means she is capable of both a long lyric lines as well as dramatic moments. Her roles demand great physical beauty and vocal power, and
    the ability to hold the stage alone with authority.
    Singers: Fiorenza Cassotto, Christa Ludwig, Rise Stevens, Giulietta Simionato, Tatiana Troyanos, Maria Ewing, Marilyn Horne. 
    Examples: Fiorenza Cassotto, Le nozze di Figaro; Christa Ludwig, Des Knaben Wunderhorn

    Eboli * Don Carlos O don fatale


    Dorabella * Così fan tutte Smanie implacabili
    Leonora * La Favorita O mio Fernando
    Waltraute * Götterdämmerung Erzählung (Höre mit Sinn)
    Orturd * Lohengrin Entweite Götter
    Octavian * Der Rosenkavalier Wie Du warst (duet)
    Dalila * Samson und Dalila All three arias
    Fricka * Die Walküre Wo in Bergen du  dich birgst
         
    Carmen Carmen Habanera / Seguidilla / Karten-Arie (Card Scene)
    Venus Tannhäuser Geliebter, komm
    Sextus Titus (La Clamenzo di Tito) Parto, parto
     
    DRAMATISCHER ALT (g to b'')
    Dramatic Mezzo II
    A exible, metallic voice with a well developed top an bottom register, capable of dramatic intensity.
    The Dramatischeralt is the true dramatic among the lower women's voices and is often combined with the Tieferalt. It is a Fach generally reserved for the more mature singer. In
    addition to the dramatic roles of Ulrica in Ein Maskenball, Azucena in Der Troubadour, and Herodias in Salome, it contains many smaller roles demanding ne characterization.
    Singers: Francis Bible, Christa Ludwig, Brigitte Fassbander, and Waltraud Meier. Ebe Stignani, Fedora Barbieri, Fiorenza Cassotto, Shirley Verrett, Grace Bumbry, and Dolora Zaxick.    

    Examples: Francis Bible, The Ballad of Baby Doe

    Waltraute * Götterdämmerung Erzählung (Höre mit Sinn)

    https://www.ipasource.com/mezzo 1/2
    31/3/2020 IPA Source Mezzo
    Ulrica * Ein Maskenball Re del'ablisso, a rettati
    Erda * Das Rheingold Weiche Wotan, weiche
    Dalila * Samson et Dalila All three arias
    Azucena * Der Troubadour Stride la vampa
         
    Carmen Carmen Habanera / Seguidilla / Karten-Arie (Card Scene)
    Orpheus Orpheus und Eurudike Ach ich habe Sie verloren (Che farò senza Eurudice)
     
     
    TIEFER ALT (f to a'')
    Alto
    A full, rich voice with an extended bottom range.
    This is a rather special category, and an important one. While it can include the great roles listed for the Dramatischeralt, it contains many roles demanding an extensive low voice and
    a mature appearance. In this Fach we nd the roles of Zita in Gianni Schicchi, Erda in Das Rheingold, Dame Quickly in Falsta and the Dritte Dame (Third Lady) in Die Zauber öte.
    Singers: Florence Quivar, Kathleen Ferrier.
    Example: Marga Ho gen, Das Rheingold

    Ulrica * Ein Maskenball Re del'ablisso, a rettati


    Erda * Das Rheingold Weiche Wotan, weiche
    Dalila * Samson und Dalila All three arias
    Azucena * Der Troubadour Stride la vampa
         
    Carmen Carmen Habanera / Seguidilla / Karten-Arie (Card Scene)
    Orpheus Orpheus und Eurudike Ach ich habe Sie verloren (Che farò senza Eurudice)

    https://www.ipasource.com/mezzo 2/2

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