Explore The Singing Of The Soubrette Soprano In Opera

Soubrette Soprano,also commonly known as trumpet lyric soprano,is one of the most common parts in bel canto learning.This part often plays some important roles in comedy operas.In the Mozart opera "The Wedding of Figaro",the maid Susanna is the representative of a typical Soubrette Soprano.Therefore,the thesis takes this part as the research object,and cites Susanna’s aria "Come Down,Kneel Down" as the discussion center,and analyzes the characteristics of this part,its role in opera,music style,singing skills,etc.,respectively.The thesis also lists the different aspects of the soprano singers of different voices in different aspects of timbre,character creation,etc.when singing this work.Discuss and study the part in a more three-dimensional and in-depth way,so as to more intuitively explain the characteristics of Soubrette Soprano,so as to better learn to sing.The first chapter focuses on Soubrette Sopranos.The main characteristics of the Soubrette Soprano’s voice,singing and character.The second chapter analyzes the characteristics of the lyric soprano in Mozart’s permanent role in the opera,and conducts a more in-depth and systematic research on the Soubrette Soprano.The third chapter takes Soubrette Soprano as the main analysis object,discusses the classification of voice parts and the division method,and emphasizes the importance of clear division of voice parts.Learn to refer to various relevant literature materials and the author’s own learning experience to explore the training methods of Soubrette Soprano.Finally,we can see that the light lyrical female high has a sweet and dexterous tone,and often plays young roles such as maids and other low social status in the play.Most of the characters are lively,intelligent,and brave.The performance is lively and interesting,full of drama,and often accompanied by a lot of narration.During the singing,pay attention to keeping the sound clean and bright,and ensure that the head cavity resonance is used to achieve the unity of the high position under the premise that the breath fulcrum is stable.At the same time,the training of the diaphragm should be strengthened to improve the flexibility of the sound.In addition,the paper also reflects the different shaping of the opera’s role image by different voices,and the importance of reflecting the concept of voice division in vocal training.At the end of the paper,based on consulting literature and the author’s own learning experience,Analyze and organize the training methods suitable for this part and the more suitable repertoire,with a view to providing reference materials for learners and singers who are interested in this part...