The Significance of the Soubrette
Historical and Music Performance Analysis from Commedia''s Colombina to Early 21st Century Comic Opera Sopranos
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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 opera...
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.
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