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Subject: Re: Tosca and high Cs
From: Ulrik <[log in to unmask]>
Reply-To:Ulrik <[log in to unmask]>
Date:Tue, 20 Jun 2017 16:11:52 -0400

text/plain (35 lines)

On Tue, 20 Jun 2017 00:19:49 -0400, Jon Goldberg <[log in to unmask]> wrote:

>What's interesting is that in some operas, the prima role doesn't have the C's but others 
>do. For instance, Preziosilla instead of Leonora, Zerbinetta (ya think, lol) instead of 
>Ariadne...also, Isabella in L'Italiana has no written C's, but Elvira has to hold 2 big long C's 
>over the ensemble at the end of Act I. (Yes, Isabella is properly a mezzo, but Elvira is not 
>a starring role, and yet she gets that big impressive moment. So it really can't just be any 
>ol' singer doing it - she *has* to have solid C's.)

In Fidelio, Marzellina has a high C, Leonore not. In Cenerentola, I believe Clorinda has at 
least one (if not two) held high Cs in the ensemble with Alidoro, Tisbe and Cenerentola. In 
Das Liebe der Danae in the duet between Danae and Xanthe (???), Xanthe (who does not 
sing muh else, as far as I recall) has to sing the highest note, being a D or Dflat, I think. 
And so forth...

A Verdi soprano part with a fair share of high Cs (especially if singing the traditional 
additional ones and the second cabaletta) is Leonora in Trovatore.


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