The dramatic soprano conjures in our heads various images, most commonly the picture of a fuller figure dressed in armour and Viking helmet yelling at the top of her voice something along the lines of “Hojotoho!”, which most people not familiar with opera and it’s finer details will first associate with sopranos in general.
Of course, we are talking about Brünnhilde here, the archetype of the dramatic repertoire. Yet strangely enough, this is not in essence a role that need be sung by a dramatic soprano – it is really a heavy lyric soprano role – however, a caveat is needed here, as due to the dense orchestration it generally requires a soprano capable of being heard over and above this, and so is more often sung by a dramatic soprano. (Only in Bayreuth – where the orchestra is fully covered by the stage area – could a lyric soprano possibly hope to overcome the orchestral forces.) It is not so much the singing of the role itself as the stamina, both mental and physical, required to perform it, bearing in mind that the role spans three operas of three-and-a half to four-and-a-half hours duration that could be sung on three consecutive evenings. Generally, it takes the resources of the dramatic soprano to her absolute limits to perform Brünnhilde, and this is why it is considered by many to be a pinnacle of a career. (Hildegard Behrens is a case is point, singing very little else since her performances of this character.)
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Although Brünnhilde is thought of as the epitome of dramatic soprano singing, one other role comes to mind as a dream role – Turandot, by Puccini. Again, the need for a dramatic soprano is mainly due to the heavy orchestral sound world, yet it is also because of Puccini’s particular writing for this icy princess. Birgit Nilsson (also a great Brünnhilde) was a fine exponent of this role, her voice pierced the orchestra like a laser beam, with no hint of pressure or wobble detected in the EMI recording of 1964. The true art of the dramatic soprano is in the fine singing required in her Act II aria “In questa reggia” followed by the riddle scene. The aria builds and builds, going higher in the voice. Then, in the riddle scene, Puccini asks even more of her by testing her tessitura to the absolute limits. In a lesser soprano, it would sound like a screech, but with a true dramatic, the voice will fall naturally into place in this daunting scene. In Act III, she has the dramatic duet with Prince Calaf, (written by Alfano from sketches left by Puccini) which build in intensity and passion to the moment that Calaf kisses her. Her ardour is undiminished, but her iciness has gone, now she is a full woman, and as she feels the wonder of love ,her voice must blossom too. Only the dramatic soprano voice is capable of fulfilling the strenuous requirements of the most daunting of all soprano roles, and hence its inclusion here as a dream role for dramatic soprano.
We’ve looked at all the main distinctions of the soprano now: is there one role above all others that could claim to be a dream role of all sopranos? I would suggest Tosca, Mimi or the Countess as the main contenders for that title, but I think ultimately you will have your own opinion!
Ian Wilson-Pope
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