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Melismatic madness: Coloratura and female vocality in mid nineteenth-century French and Italian opera.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Melismatic madness: Coloratura and female vocality in mid nineteenth-century French and Italian opera./
Author:	Parr, Sean M.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2009,
Description:	235 p.
Notes:	Source: Dissertations Abstracts International, Volume: 72-01, Section: A.
Contained By:	Dissertations Abstracts International72-01A.
Subject:	European history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3393593
ISBN:	9781109605570

Melismatic madness: Coloratura and female vocality in mid nineteenth-century French and Italian opera.
Parr, Sean M.

Melismatic madness: Coloratura and female vocality in mid nineteenth-century French and Italian opera. - Ann Arbor : ProQuest Dissertations & Theses, 2009 - 235 p.

Source: Dissertations Abstracts International, Volume: 72-01, Section: A.

Thesis (Ph.D.)--Columbia University, 2009.

A crucial feature of operatic singing from its inception, coloratura became a peculiarity over the course of the nineteenth century. The common perception is that this was a shift in compositional practice that resulted from increased desires for dramaturgical realism, a priority mostly associated with Wagner, but also linked to Verdi. However, such an explanation does not take into account other important elements and actors in this change. My project attempts to address those neglected elements and actors, focusing on mid nineteenth-century Franco-Italian vocal practice. The dissertation examines in particular how coloratura became an increasingly marked musical gesture over the course of the century with a correspondingly more specific dramaturgical function. It also explores how coloratura simultaneously became gendered almost exclusively as the domain of the female singer. I argue that vocal virtuosity was a source of power for women, creating space for female authorship and creativity. I endeavor to reclaim a place in history for the melismatic female voice, a voice often silenced or dismissed by composers and scholars. In addition to the more familiar composer-oriented methodology, my approach incorporates perspectives on performance and individual performers, issues of gender, and close readings of operatic arias. In the opening chapter, I explore the period's treatises on the voice and reveal a bifurcation between singing styles-a division between agile, florid singing and declamatory, sustained singing-one that transfers from vocal pedagogy to the operatic stage. Individual performers played pivotal roles in the development of operatic style, in particular the case of Caroline Carvalho, the focus of Chapters 2 and 3. Carvalho was a creatrice who brought about a shift in the way audiences viewed coloratura and in the way composers conceived of coloratura's function in opera. Her creations of five Gounod roles connect her to the emergence of a new genre, the vertiginous waltz ariette. Chapter 4 investigates a key music-theatrical "theme," one highly conventional at the time-madness. In my last chapter I suggest that before Verdi eschewed coloratura in his late operas, he subverted the signification of melismas in his middle-period operas, making coloratura the symbol, even the harbinger, of death.

ISBN: 9781109605570Subjects--Topical Terms:

1972904
European history.
Subjects--Index Terms:

Carvalho, Caroline

Melismatic madness: Coloratura and female vocality in mid nineteenth-century French and Italian opera.
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520 $a A crucial feature of operatic singing from its inception, coloratura became a peculiarity over the course of the nineteenth century. The common perception is that this was a shift in compositional practice that resulted from increased desires for dramaturgical realism, a priority mostly associated with Wagner, but also linked to Verdi. However, such an explanation does not take into account other important elements and actors in this change. My project attempts to address those neglected elements and actors, focusing on mid nineteenth-century Franco-Italian vocal practice. The dissertation examines in particular how coloratura became an increasingly marked musical gesture over the course of the century with a correspondingly more specific dramaturgical function. It also explores how coloratura simultaneously became gendered almost exclusively as the domain of the female singer. I argue that vocal virtuosity was a source of power for women, creating space for female authorship and creativity. I endeavor to reclaim a place in history for the melismatic female voice, a voice often silenced or dismissed by composers and scholars. In addition to the more familiar composer-oriented methodology, my approach incorporates perspectives on performance and individual performers, issues of gender, and close readings of operatic arias. In the opening chapter, I explore the period's treatises on the voice and reveal a bifurcation between singing styles-a division between agile, florid singing and declamatory, sustained singing-one that transfers from vocal pedagogy to the operatic stage. Individual performers played pivotal roles in the development of operatic style, in particular the case of Caroline Carvalho, the focus of Chapters 2 and 3. Carvalho was a creatrice who brought about a shift in the way audiences viewed coloratura and in the way composers conceived of coloratura's function in opera. Her creations of five Gounod roles connect her to the emergence of a new genre, the vertiginous waltz ariette. Chapter 4 investigates a key music-theatrical "theme," one highly conventional at the time-madness. In my last chapter I suggest that before Verdi eschewed coloratura in his late operas, he subverted the signification of melismas in his middle-period operas, making coloratura the symbol, even the harbinger, of death.
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