Dramatic soprano

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The pitch of the dramatic soprano is a particularly powerful, expressive and emotional form of the soprano with a common pitch range from g to c´´´.

definition

Singers in these roles often have a "metallic" timbre and great punch. They have to be able to drown out orchestras with very large casts, for example in the operas of Richard Wagner and Richard Strauss , and to play roles with extreme emotional outbursts. These include typical late romantic Strauss roles such as Salome , Elektra and Färberin , but also Wagner's Isolde and, as the longest and most demanding of all such roles, Brünnhilde in the Ring of the Nibelung . On the other hand, soprano roles of the Viennese classical music that are extraordinarily passionate to sing, such as Leonore in Beethoven's Fidelio or Donna Anna in Mozart's Don Giovanni, are not really “dramatic” soprano roles in today's sense. Dramatic sopranos almost always embody sacrificial, mythical heroines of the greatest format. The term highly dramatic soprano does not refer to the fact that such singers have a particularly high tessitura , i.e. can sing particularly high notes, but rather that they are able to credibly portray even the most expressive, emotional and loudest parts. Sopranos who come into question for Isolde and Brünnhilde not only have to have top notes available, but also have to bring a lot of power in the lower and middle registers, which clearly distinguishes them from lyrical sopranos and coloratura sopranos . A transitional and mixed form is the pitch of the character soprano . The partner of the "highly dramatic" is usually the hero tenor .

Well-known singers of the role subject

Mimi Poensgen , Marie Wilt , Kirsten Flagstad , Frida Leider , Astrid Varnay , Birgit Nilsson , Leonie Rysanek , Hildegard Behrens , Gwyneth Jones , Nina Stemme , Waltraud Meier , Camilla Nylund and Gena Dimitrowa were and are great “highly dramatic” .

Examples of typical games

Individual evidence

  1. Winfried Bönig, Tilmann Claus: Einstein's violin: a musical hodgepodge , Munich 2011, p. 102
  2. Wolfgang Goldhan: Characteristics of the singer's voice , Darmstadt 1995, p. 70