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| re: Of COURSE they will change the keys... but Sutton has that range. | |
| Last Edit: Chromolume 11:05 pm EST 02/12/20 | |
| Posted by: Chromolume 11:04 pm EST 02/12/20 | |
| In reply to: re: Of COURSE they will change the keys... but Sutton has that range. - Michael_Portantiere 10:51 pm EST 02/12/20 | |
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| Of course. the original Lilli/Kate was Patricia Morison, whom I believe was classified as a mezzo. ...which correlated with my comment about Kate/Lilli being a heftier role vocally. In operatic terms (and I know they are different from musical theatre classifications) a mezzo does need good command above the staff. (Roles like Amneris and Azucena come to mind immediately - both roles call for solid climactic high A's. Marian doesn't need an A at all, lol.) We can argue over tessituras, but there's probably no point lol. It's not that big of a thing. But I do think that Marian is a less demanding singing role than Lilli. |
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| re: Of COURSE they will change the keys... but Sutton has that range. | |
| Posted by: AlanScott 07:51 pm EST 02/13/20 | |
| In reply to: re: Of COURSE they will change the keys... but Sutton has that range. - Chromolume 11:04 pm EST 02/12/20 | |
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| We had a discussion like this here a while ago. I mentioned that roles like Margaret and Clara in The Light in the Piazza would not present difficulties, at least in terms of high notes, for any mezzo who could sing the major operatic mezzo roles. And the discussion went on from there. (I seem to think that you disputed at least some of what I was saying.) Some mezzos even sing Verdi's Lady Macbeth with its high D flat. And I think that Idamante in Idomeneo, usually sung by mezzos, goes up to something like a high D. Even some contraltos (not that there many nowadays) would be able to sing most of the famous "Broadway soprano" roles. Marian Anderson and, more recently, Ewa Podles had high Cs at their disposal. And Lili Chookasian, for instance, classified herself as a contralto, but she sang the Verdi Requiem, with its A flat for the mezzo. She also had Amneris in her rep. |
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| re: Of COURSE they will change the keys... but Sutton has that range. | |
| Posted by: Michael_Portantiere 10:42 am EST 02/13/20 | |
| In reply to: re: Of COURSE they will change the keys... but Sutton has that range. - Chromolume 11:04 pm EST 02/12/20 | |
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| "We can argue over tessituras, but there's probably no point lol. It's not that big of a thing. But I do think that Marian is a less demanding singing role than Lilli." On this point, I certainly agree. |
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| re: Of COURSE they will change the keys... but Sutton has that range. | |
| Last Edit: PlayWiz 11:33 pm EST 02/12/20 | |
| Posted by: PlayWiz 11:25 pm EST 02/12/20 | |
| In reply to: re: Of COURSE they will change the keys... but Sutton has that range. - Chromolume 11:04 pm EST 02/12/20 | |
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| Amneris and Azucena are dramatic mezzo roles in opera. Many of musical theatre's soprano roles are more akin to a lyric mezzo, though mezzos tend to, at least in opera, have the biggest range that's sometimes called upon (Dorabella sometimes sings higher than soprano Fiordiligi in "Cosi Fan Tutte"). Yes, Cunegonde, written as a spoof of jewel songs like Marguerite's in "Faust" requires a real coloratura high soprano to sing "Glitter and Be Gay". But a lyric mezzo in opera can sing Laurey, Marian, and maybe Amalia if they have the Bb -- they are toss-ups as far as musical theater sopranos or mezzos can sing them -- what's required mostly is a nice legit voice without real heavy belting (although Barbara Cook did kind of belt, with her higher soprano placement "Where's My Shoe" in a healthy manner for her to sustain her doing it 8x a week). Sutton Foster is mainly known more for her belting, though she did have a very nice high note at the end of "The Show-Off" in "Drowsy Chaperone" which I believe she started like a siren ascent (like Julie Andrews in the movie "Victor/Victoria" at the end of "Le Jazz Hot", starting low and ascending like a fire siren to the top). Whether Ms. Foster's voice is comfortable in the relatively higher tessistura of a musical theater soprano (or a opera lyric mezzo who doesn't belt) remains to be seen. As Meredith Willson wrote it, Marian is a really well-written and gracious role for the voice. There are lots of ladies who can do it, and I've never really seen a Marian in performance who was less than good. Soubrettes in opera, which also in a way correspond to musical theater sopranos, tend to do a lot of singing in the middle range, like Susanna in "The Marriage of Figaro" though need to have high notes when required as well. There are some ladies who can move between soubrettes and lyric mezzo roles, depending on where the role lies, which are similar to some of these musical theater roles. | |
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