The Significance of the Soubrette - Dennis-Rigney, Leslie
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The soubrette voice and character has played a significant role in operatic compositions since her 18th C inception, yet little has been written about her origins, development and present day incarnations. It is no secret that the light lyric soprano, the voice type most commonly assigned to the soubrette and the most available, must compete at the highest level; vocal talent alone is not enough. She must be prepared! So this is written for the soubrette, her voice coaches/teachers, directors and composers. It examines her theatrical beginnings from commedia dell'arte, emergence in comic…mehr

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Produktbeschreibung
The soubrette voice and character has played a significant role in operatic compositions since her 18th C inception, yet little has been written about her origins, development and present day incarnations. It is no secret that the light lyric soprano, the voice type most commonly assigned to the soubrette and the most available, must compete at the highest level; vocal talent alone is not enough. She must be prepared! So this is written for the soubrette, her voice coaches/teachers, directors and composers. It examines her theatrical beginnings from commedia dell'arte, emergence in comic opera, musical idiosyncrasies and her fulfillment in Mozart. It explains her growth both musically and theatrically in 18th C comic opera up through 19th C operetta. An in-depth performance analysis of three 19th C Italian roles, Adina, Nannetta, and Musetta, is provided along with the NY Metropolitan sopranos who sang them. Remarks on the soubrette are explored in interviews with industry specialists. An assessment of where she exists in the late 20th C and beyond is included as well as a guide to operatic soubrette roles, their ranges and other pertinent details.
Autorenporträt
Soprano Leslie Dennis-Rigney holds a Doctorate in Musical Arts from UCLA, a Masters in Music from CSUN and a BA in French Literature from UCLA. She has performed with Los Angeles Opera in more than 20 productions. She solos regularly with regional opera companies, orchestras, chorales, and teaches privately in Los Angeles.