'The characteristic of a dramatic soprano is that she can sing over a full orchestra and at the same time command the attention of the audience with her imposing and electrifying presence. Her voice is full, rich, and powerful, and her dark timbre can arise feelings of awe.'(Banis;2013)
Being a dramatic soprano and being trained in Opera my influences stem from composers such as Puccini, Mozart and Handel. The stately character of Contessa from Mozarts ‘Le Nozze di Figaro’ and the vocal line of ‘Porgi, amore’ and also Handels ‘V’adoro Pupille’ sang by Cleopatra, I felt echoed in the character of Ophelia as she has that stately air about her, which I feel all of these characters have. And it is these aria's which I am best at singing.
As the composer and performer of the piece, it is obvious that you want to write things that show off your voice bests and brings our the best attributes of your voice. That is why I wrote a slow, stately piece, as it is what I sing best.
'Though a dramatic soprano is expected to cover the full soprano range, i.e. from a C4 to a C6, her tessitura is lower. This doesn’t mean that she won’t be called to sing long hight notes. On the contrary, many dramatic sopranos are know for their intense and full fermatas on high notes.' (Banis;2013)
I wanted to show off my range in my piece that is why I added in a top Bflat on the most dramatic part and climax off the piece. Not only for dramatic impact I decided to write that in, but taking influence from Mozart of the theory behind the Bflat. After critique and analysing his work, it is said in theory that he only ever made the soprano's sing a Bflat when her character was truly in love. I believed this would be a good element to be placed in my piece as I believe Ophelia's love for Hamlet is true.
Being a dramatic soprano and being trained in Opera my influences stem from composers such as Puccini, Mozart and Handel. The stately character of Contessa from Mozarts ‘Le Nozze di Figaro’ and the vocal line of ‘Porgi, amore’ and also Handels ‘V’adoro Pupille’ sang by Cleopatra, I felt echoed in the character of Ophelia as she has that stately air about her, which I feel all of these characters have. And it is these aria's which I am best at singing.
As the composer and performer of the piece, it is obvious that you want to write things that show off your voice bests and brings our the best attributes of your voice. That is why I wrote a slow, stately piece, as it is what I sing best.
'Though a dramatic soprano is expected to cover the full soprano range, i.e. from a C4 to a C6, her tessitura is lower. This doesn’t mean that she won’t be called to sing long hight notes. On the contrary, many dramatic sopranos are know for their intense and full fermatas on high notes.' (Banis;2013)
I wanted to show off my range in my piece that is why I added in a top Bflat on the most dramatic part and climax off the piece. Not only for dramatic impact I decided to write that in, but taking influence from Mozart of the theory behind the Bflat. After critique and analysing his work, it is said in theory that he only ever made the soprano's sing a Bflat when her character was truly in love. I believed this would be a good element to be placed in my piece as I believe Ophelia's love for Hamlet is true.
No comments:
Post a Comment