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Subject: Re: Dugazon
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Tue, 5 Dec 2017 10:31:32 -0700
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In our times Crespin and Antonacci are classic Facon's.  Crespin was
basically a dramatic soprano with a rich, mezzo like bottom, a soprano
middle and a challenged top.  Antonacci is a lyric, possibly spinto with
the same problems.  I have heard her a number of times over the years and
while I marveled at the artistry and intrinsic beauty of the voice, she is
about the shortest major league soprano I've ever heard.  Yes, I heard VdL
many times in concert and her late Carmen.  It was an unusually rich
soprano and at least early on the top was pretty good.  As for Bumbry and
Verrett, yes, possibly falcons but more likely mezzo-soprano's with an
upper extension and ease in the higher tessitura that enabled them to sing
soprano roles for years.  Rose Bampton was most likely a similar type
singer.

Donald

On Mon, Dec 4, 2017 at 2:19 PM, R PRADA <[log in to unmask]> wrote:

> 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
>
>
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