Talk:Dramatic soprano

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This page attempts to draw too extreme a distinction between the two classes. Any list which says Jessye Norman or Hildegard Behrens is not a Wagnerian soprano clearly needs revising. (talk) 06:15, 28 August 2009 (UTC)

Turandot is listed both as a dramatic soprano role and a Wagnerian soprano role. This is potentially confusing. Also, the Queen of the Night was listed as a Wagnerian role. I removed this as it is obviously a coloratura role. —Preceding unsigned comment added by (talk) 01:13, 26 May 2009 (UTC)

'Wagnerian soprano'[edit]

Is this a useful term? It doesn't exist in German. According to the Fach system there are two main kinds of singer in Wagner operas: 'Jugendlich Dramatischer Sopran' (for roles like Senta, Elsa etc.) and 'Hochdramatischer Sopran' (Brünnhilde, isolde) etc. --Kleinzach 01:51, 13 October 2010 (UTC)

In German the Wagnerian Soprano comes across as 'Hochdramatischer Sopran', which - corrected translated - roughly means 'High-dramatic soprano'. This term is rarely needed and most singers still are classified as 'Dramatic Soprano'. However, there are singers who use 'Wagnerian soprano/Hochdramatischer Sopran' and certanly it's worth mentioning. By the way, 'Jugendlich Dramatischer Sopran' is 'Spinto soprano'. Sincere regards, JLR — Preceding unsigned comment added by (talk) 11:42, 22 July 2011 (UTC)

This article and the other one describing voice types, is totally incorrect. To begin with, there is no such thing as a Wagnerian soprano. The term is ridiculous. When it comes to Wagnerian roles, most people tend to forget that Wagner's operas were meant to be performed in Bayreuth, whose acoustics and architecture favour and reinforce the human voice against the orchestra. Also the idea that a dramatic soprano is a singer that can sing over an entire orchestra is also erroneous. That is not how a dramatic soprano is defined and there is no singer who can sing over a full orchestra no matter how big a voice they have. A dramatic soprano is a type of opera role usually sung by a soprano, who is really a mezzo with a higher tessitura and solid high notes.Amadeus webern (talk) 15:18, 13 June 2012 (UTC)

I agree with you that Wagner was ideally intended for Bayreuth and therefore the idea that a "Wagnerian soprano" should be endowed with a large voice is wrong. But given that Wagner's operas are generally not staged in an opera house with Bayreuth-like acoustics, a successful "Wagnerian soprano" generally does require a substantial voice. I have no opinion on whether we should distinguish "Wagnerian" from "dramatic" but maybe it is worth mentioning what the term might mean. Angry bee (talk) 23:35, 13 October 2012 (UTC)

This is certainly an interesting discussion. I would like to add one thought/question regarding the grouping of sopranos under different headings. Take as an example Nina Stemme who started out roughly 20 years ago as a mezzo, quickly moved to light soprano roles and progressing over the years into heavier roles. At present her active repertoire encompasses roles that are supposedly Dramatic (e.g. Salome and Minnie) as well as Wagnerian (e.g. Brünnhilde, Isolde and Turandot). So, if we assume that there is such a thing as Wagnerian soprano, should Stemme (or any soprano) be considered to belong to the fach that encompasses the majority of her current roles, or perhaps the roles that are generally considered to be the most difficult? Or is there some other criteria? Andersneld (talk) 10:15, 3 December 2013 (UTC)

Operatic Metal[edit]

It has been noted in the bio of Floor Jansen that she is a dramatic soprano in range and vocal quality. As this musical form is something of a hybrid form, I suggest that we think about whether the 'classical only' stricture be eased for her and others like her. Blackfyr (talk) 20:45, 20 October 2012 (UTC)