LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Dugazon
From: R PRADA <[log in to unmask]>
Reply-To:R PRADA <[log in to unmask]>
Date:Mon, 4 Dec 2017 16:19:53 -0500
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (33 lines)


OK - she was a soubrette with not too many high notes (as is frequent with this type of voice). It is a light voice, by which I think they mean lyric. 

I found this under voice types on Wikipedia.

Two other types of soprano are the Dugazon and the Falcon, which are intermediate voice types between the soprano and the mezzo-soprano: a Dugazon is a darker-colored soubrette, a Falcon a darker-colored soprano drammatico.

I imagine that once the voice of Mozart’s dear friend, once it broke, would have been that sort of voice. Nancy Storace was the first Susanna, but in the ensembles she took the lower lines, written for the Countess. She could no longer sustain the high tessitura in certain parts of the ensemble that ends the first act, for example. 

Soubrettes usually have a strong middle voice that enables them to handle line in the middle voice, and make good acting points as result. I think hat a lot of parts in musical theater are home to this voice.

Whenever you have roles that are cast easily for lighter mezzo or sopano corta, my guess is that would be a Dugazon role. Berganza might fall into that category, if you are looking for a classic example. Now that I think of it, in her way, the lovely Victoria de los Angeles could be heard in those roles - she has that characteristic warmth.Maybe even Conceit Supervia could in some of her characterizations, be part of that voice category. Later on she bridged into heavier roles (as did Victoria D, and Berganza for that matter.) I think the characterization as soprano or mezzo is rather arbitrary with this voice. 

The Falcon is a heavier voice, and by the way, Mme Falcon had a short career, and the part she played in Les Huguenots may have been part of the story. She had a dramatic sound and a restricted range. Maybe we might hear her as a contralto.

To me Bartolli is sui generis and I would not make much of an attempt to characterize her. 

OK tawk amongst yourselves. I have used up two posts. If I find anything at all in my Faure worth reporting, I’ll get back to you.

RP


**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager