Bookshelf

Abstract

Bookshelf Debra Greschner (bio) Parr, Sean M. Vocal Virtuosity: The Origins of the Coloratura Soprano in Nineteenth Century Opera. New York: Oxford University Press, 2021. E-book, xvii, 301 pp., $48.99. ISBN 978-0197542644; Paper, $65.00. ISBN 978-0-1975-4264-4 www.global.oup.com For centuries, audiences have thrilled to the sounds of coloratura. From the earliest appearance of florid passages in medieval liturgy to the roulades of Rossini, melismatic singing has captivated listeners. Over the course of the nineteenth century, however, the use of coloratura changed. The vocal virtuosity that characterized the operas of Bellini and Donizetti is absent from the late operas of Verdi, and composers such as Puccini and Bizet eschewed it completely. Musicologist Sean Parr explores the origins and history of the modern coloratura soprano, including when the Fach was established and how its development was influenced by exponents of French opera. He avers that coloratura was not anachronistic in nineteenth century opera; instead, it was an indicator of new expressive and dramatic directions. Parr also explores the social and cultural significance of coloratura and demonstrates that fioritura had implications well beyond the footlights. The chronicle begins with an overview of changes that occurred at the turn of the nineteenth century. In 1798, Pope Pius VI revoked the ban against women appearing on stage; eight years later, the French emperor forbade castrati. Parr explains that the resulting increase in opportunities for women necessitated changes in voice pedagogy models because the master teacher paradigm that required students to live with their instructors was deemed inappropriate for female singers. This shift solidified the importance of formal music schools, such as the Paris Conservatory. Founded in 1795, the institution was influential in standardizing music education, even publishing a treatise that codified the curriculum of voice pedagogy. The structured approach to technique (which included an emphasis on the whistle register) and the influence of pedagogues Laure Cinti-Damoreau (1801–1863), Gilbert-Louis Duprez (1806–1896), and Manuel Garcia II (1805–1906) enabled sopranos to develop the skills required for melismatic singing. Parr cites pedagogic treatises of the era to demonstrate the widening rift that developed between melismatic and sustained singing styles as evidenced in the writing of Francesco Lamperti (1813–1892) and Julius Stockhausen (1826–1906). There was also a shift along national lines. Parr details how Italian opera began to move away from coloratura, as exemplified in the middle period operas of Giuseppe Verdi. The author postulates that the fioritura serves as an omen of impending doom for the character who sings it; for instance, Gilda's elation in "Caro nome" is artificial and the melismas serve as an ominous warning. The author draws the same parallel for the arias "Sempre libera" (La traviata) and "Merci, jeunes amies" (Les Vêpres siciliennes). The dark subtext of these arias contrasts with the joyful or exuberant mood usually associated with coloratura, and Parr contends the mood reflects Verdi's opinion of melismatic singing. Despite its disappearance from Italian operas, coloratura remained a mainstay in the stage works of French composers. There were several important exponents of the Fach, but the most significant of the era was soprano Caroline Carvalho (1827–1895). Born Marie Félix-Miolan, she created sixteen roles in the span of seventeen years. Five were leading roles in operas by Charles Gounod, including Marguerite in Faust and Juliette in Roméo et Juliette. (She also premiered Gounod's setting of "Ave Maria" based on the first keyboard prelude by J. S. Bach.) Parr proffers a detailed portrait of the noteworthy performer and créatrice. In regard to the latter, Carvalho possessed formidable skills in performing variations as exemplified by her performance of the aria "Carnaval de Venise" (La Reine Topaze) by Massé. Her marriage to Léon Carvalho in 1853 increased her sphere of influence. As an opera director who worked at several theaters, including the Théâtre-Lyrique and Opéra-Comique, Léon exhibited an astute ability to recognize operas with potential. In addition to presenting the premieres of many of Gounod's operas, he oversaw the first performances of Les Pêcheurs de perles by Bizet (1863), Les Troyens by Berlioz...