Like her soprano sister, the lyric mezzo-soprano has two clear types: the coloratura and the true lyric. We shall be looking at the dream role for the lyric coloratura in this article. The definition of the coloratura denotes colouring of the musical argument, or embellishment and ornamentation of the basic musical material.
The coloratura mezzo-soprano has access to a large number of roles, ranging from those of Baroque opera, such as Monteverdi and Handel (really the roles of today’s counter-tenors, the modern equivalent of the castrati that these roles were originally written for), up to the mid-romantic operas of Donizetti and Verdi. But it is in one composer that the dream role of coloratura mezzo’s is found. The composer is Rossini, and the role Rosina in Il Barbiere di Siviglia .
Although two versions of this role are possible (there is a soprano version a tone higher), it is nowadays performed in the original version with a mezzo-soprano in the role. The coloratura mezzo gives a warmer, silkier sound, and although the aria “Una voce poco fa” demands great technical agility, the sound never becomes shrill, unlike some soprano’s who have tackled the same aria. The richer lower register gives Rosina’s character a more womanly, feminine aspect, rather than that of the simple soubrette image that a soprano might bring to the piece. A mezzo also brings, particularly in the same aria, a sense of Rosina’s intelligence. After all, here she is saying that it is her womanly ways which will save her from falling into the hands of any mere fool, or be outwitted by her bumbling oaf of a guardian, Dr. Bartolo.
|
Rossini’s masterful characterisation makes this role a sheer pleasure for the coloratura mezzo capable of its vocal demands. She is no one-dimensional character, despite the opera’s own reputation for being a very light-hearted comedy full of caricatures. It is through her ingenuity that Figaro is able to succeed in bringing the Count and her together; he feeds off the fact that she is willing to allow the Count to woo her. (Of course, we know from Mozart’s Marriage of Figaro that things will not be so easy for her later on, but that is not our concern at this particular point!) A good actress will be able to convey this.
Musically, this role is very demanding. Rosina has her show-piece aria as discussed, as well as a duet with Figaro, and the Count, a quintet and quartet, and the two finales, of which the Finale of Act One is the most tiring, lasting as it does for over twenty minutes. Physically, Rosina is on stage for much of the time during the opera, either directly involved in the action, or just in another room (often on-stage). It is as much the sheer musical demands and material, as well as a character that stands out against more two-dimensional comic characters (Basilio and Bartolo), that make this a dream role for coloratura mezzo-sopranos, not to mention the appeal of a leading lady that has not originally been written for a soprano to sing!
In Part 2, we’ll look at the true lyric mezzo, and in particular at the roles written for mezzo-sopranos who play young men - the so-called trouser roles.
Ian Wilson-Pope
|
