THE SOPRANO VOICE TYPE AND IT’S IMPORTANCE WITHIN THE OPERETTA GENRE

Eva-Elena JORDAN

doi:10.24193/subbmusica.2018.2.09

Authors

Eva-Elena JORDAN PhD Student, “Gheorghe Dima” Academy of Music, Cluj-Napoca; Soloist at the Hungarian Opera of Cluj, and associate faculty member at Babeş-Bolyai University, Faculty of Reformed Theology.

DOI:

https://doi.org/10.24193/subbmusica.2018.2.09

Keywords:

prima donna, grande dame, lyrical soprano, spinto soprano.

Abstract

This hereby study has two main parts, uneven in length. In the first part we have attempted to classify the types of voices within the genre of operetta, while detailing their functional aspects, focusing on the analysis of the use of the soprano voice for the roles of prima donna and grande dame. In our second part, we have presented the main female roles of the 14 operettas that we will analyze within our doctoral research, classified from the standpoint of their authors. We have also added some interesting facts concerning the great Hungarian operetta composers, as well as mentioned famous performers who portrayed the main roles of these operettas during the time they were performed.

References

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Web Resources:

Dimofte Georgiana, Opera și opereta, asemănări și deosebiri (Opera and Operetta – Similarities and Differences), https://www.scribd.com/doc/285927143/Opereta-Si-Opereta-asemanari-si-deosebiri, 2015

https://onlinemerker.com/giessen-viktoria-und-ihr-husar-von-paul-abraham-premiere