In The 19th Century French Contraltos Aria Of Teaching

The mezzo-soprano is a rare musical part, which trains with difficulty. In the 19th century, a batch of relative central mezzo-soprano aria appeared in French opera. The mezzo-soprano roles in these opera were different from the former ones. They were no longer the old, dreary, male character. The most prominent characteristic was the transformation of the role status. There were some young feminine images. They were beautiful, flirtatious, daring to love, daring to hate, and have their distinct individuality. The composers had written a large number of exquisite arias for them which enjoyed great popularity. These arias had the exquisite melody, the poetic lyrics, and the exciting affection in the plot, such as "Carmen", "Sang Songyu Reaches Lillah", "the Sa Luck", "Fan Mother" and so on. These operas had been the outstanding plays in the opera stage since the 19th century, which did not fade for a long time. The mezzo-soprano role arias in the play had also become the retention program in the singers'concert.These outstanding arias emerged in the 19th century in France. Political process at the time caused great change in literature and art area. As the most developed country in music at that time, the change in France was especially sensitive. French sentimental opera and the comic opera emerged.The 19th century, mezzo-soprano's vocal music skill had also reached a new altitude. Although the eunuch singer withdrew from the opera stage, they had actually formed the vocal music art esthetic standard people regarding at that time. They paid attention to the unobstructed breath, the exquisite, clear acoustic fidelity, especially the outstanding coloratura skill. Besides, the range had also reached a new width. Mary Blue, the Mezzo-soprano singer at the time, was very prominent. And her younger sister Uygur Ahl had conquered many composers with her enchanting sound and the performance, so that many composers had written a lot mezzo-sopranos works and the opera for her. During this time the mezzo-soprano role's individuality in the opera was also very bright. Carmen, reached Lillah, to send ni and so on was not the typical gentle virtuous young woman, the role's level was deeper, and was more fascinating. The French language itself and the French musicians who wrote the expressing feelings opera in the 19th century gave the opera the musical sense language and the exquisite music. This made the mezzo-soprano aria at this time especially fascinating. Therefore, in the teaching procedure, it is very easy to attract the students'interesting by using this time's French aria. Thus, with the objective condition and the subjective wish, many basic skill of singing can be easily solved.Next, there are three French opera's arias at this time for us to elaborate the problems which is easy to meet in the mezzo-soprano singing. First, Through "Ecstatic", we can train the mezzo-soprano to sing by using the profound breath. The breath training is the foundation of sound production practice for mezzo-soprano. In this aria, the phrase is quite coherent and prolonged, the strong and the weak fluctuation is smooth. So it is suitable for breath training. By partition practice, it can not only reduce the difficulty of whole chapter singing, but enable the aria fragment to become a sound tune practice, acting appropriately to the situation. Second, through "Eternal Lyre", we can solve the problem of nitpicking on words. The introduction of this aria has a large part of recitative, like thinking aloud. The timbre of female voice tenor department is special. the sound belt is long, the coelenteron is big. It is unavoidable that the sound is not smooth. So compared with other musical part, it is more difficult to make the language clear. Word for word practicing can display the rfect union of the French language feature and the music. Third, with "Bow-legged nie", we can develop the artistic expressive force of mezzo-soprano singing. Carmen, the character himself has the theatrical nature. His experience is complex, and his disposition is various. Singing Carmen's aria can excavate the singer's performance ability as much as possible. Through two degrees creations, the musical sense training, the posture training, the communicating during singing, we can develop the artistic expressive force of vocal music singing comprehensively.The mezzo-soprano musical part is easy to pursue widely, thick, thick, the ruthless sound effect. Such exaggerate timbre can only let the way of uttering sound be oversized, and most probably, it may lead to vocal cord pathological change. Besides, some mezzo-sopranos are actually the treble soprano musical part, because some reasons does not solved. Relax their"solid"technique through such exquisite program. it will let them hear the real sound of themselves, and choose their real musical part, also enable each students to be possible to sing scientifically.The France opera's mezzo-soprano aria in the 19th century was an especially magnificent part in the mezzo-soprano program. These three arias just like the tips of the iceberg among the large quantities of outstanding works at this time. The problem meets in the Mezzo-soprano teaching does not merely like these three spots, which are so concrete, but with the user-friendly work, the plentiful character disposition, the exquisite melody, the Mezzo-soprano is attracting each tenor musical part female student. Through the works, it can lets the mezzo-soprano musical part practice process becomes much more smooth. This part of aria is exceedingly good training teaching material in mezzo-soprano. So we should apply and widely spread it in the teaching process.