The Art Analysis Of Coloratura Singing Of Mezzo-soprano

Belcanto appeared in Italy in the17th century, after centuries ofdevelopment, Not only the singing technical skills and artistic connotation ismature, but also the form of singing becomes better and the form of voicepartition is scientific and detailed. Each part on the basis of its acoustic areawas divided into different characteristics of types, such as lyrical, drama,coloratura and so on.Coloratura singing occupies an important position on the opera stage as anindispensable manifestation of singing. Not only coloratura soprano isinternationally recognized as a type of parts but also coloratura singing forother parts is also very common and the creation of the coloratura repertoire isno longer the minority. Such as the baritone aria “In the shackles”,and thebass aria “The Lord said” written by G.F.Handel (1685-1759) and so on. Lookon the vocal music stage, the mezzo-soprano’s coloratura singing dazzling themost besides the coloratura soprano. Coloratura singing form not only addmany colors for the mezzo-soprano singing but also make manymezzo-soprano’s potential to a greater degree of play. Therefore, the researchof mezzo-soprano coloratura singing also highlights an important value.Under the background of the history of mezzo-soprano and coloraturasinging cause, this article will grasp the art value of the part’s localization andanalyze the characteristics of the contraltos singing coloratura art form in anunique perspective. I will try my best to explore the connotation of themechanism of the science and technology under the mezzo-soprano’scoloratura singing technical in combination with the practice of trainingmethods and find some valuable information and new ideas.In this paper, the basic framework is as follows:Introduction: overview of the position and function of coloratura singing of mezzo-soprano, summarizes the current research status at home and abroad,puts forward the prospect of research of this article and list the researchmethods.The first chapter: the art value of coloratura singing.Introduction of the historical background and art expressive force ofcoloratura singing. Explore its origin and development course whendescribing the historical background. Analyze its artistic characteristics fromtwo aspects of melody and singing tone and its significance of theperfoemance characters by coloratura singing in the aspect of singingcoloratura art expressive force.The second chapter: the art value of mezzo-soprano singing.Present the produce and development of mezzo-soprano and artisticfeatures, adding the analysis of art expressive force of coloratura singing anddiscussing the status and effect of artistic performance of coloratura singing inmezzo-soprano.The third chapter: the morphological analysis of coloratura singing ofmezzo-soprano.This chapter is one of the highlights of this article. through the coloraturamorphological analysis of different composers’ works to explore the differentart expressive force and singing matters. So that it can make the form ofcoloratura singing of mezzo-soprano further and deeper.The fourth chapter: the analysis of coloratura singing of currentinternational excellent mezzo-soprano singer.I will analyze the coloratura singing of two famous mezzo-soprano singerCecilia Bartoli and Frederica Von Stade, explore the singing style of eachsinger and summarize the singing of the same method as a coloratura singingof directional guidance of mezzo-soprano.The fifth chapter: the training and practice of coloratura singing ofmezzo-soprano.The emphasis and the key of this article. In this section of writing, I willdo systemic technical analysis about coloratura singing and put forward the effects of strengthening function of pharyngeal training in coloratura singing.At the same time, I will summarizes some vocal music singing of coloraturasinging by mezzo-soprano based on my learning practice, and analyses thetypical coloratura song “Non piu mesta” of mezzo-soprano on the basis of myown learning practice.