The Analysis Of The Role Of Soubrette Soprano In Mozart’s Opera

The western opera has a long and tortuous history development. It accounts for an important position in the world of art. Opera is an stage art form, which is completed jointly by the orchestra, conductor and singer. Because every opera has a story to be shown, the performers are required to act while they are singing with the vocal performance form as its carrier, and give a full play to means of art.As the birthplace of vocal music, the development of European opera art promotes the progress and prosperity of vocal music. The singing voice part of role specilization has been set up, which results in the relative research on voice partition and gradually influences the establishement of it. Therefore, voice classification plays an unnegligible role in the development of European vocal music.So far, European voice classification system has been quite mature in the world. There are three widely recognized classification systems in the Soprano voice:French voice classification system, Italian voice classification system and German voice classification system. Of With its more meticulous voice classification and more comprehensive theoretical basis, Germany voice classification system has become the most scientific and representative one.Maked by the development of plot, every western opera is a complete story, in which the portrayal of a character is very important. Therefore, Only when we grasp the most important feature of every character, and select the suitable actor to act accroding to the plot, music, aria in the script, can we make it come to life and sink deep into the hearts of the people. In every opera by Mozart, Soprano role is easily accepted and loved because of its melodious aria melody, beautiful and varied characters, as well as its harmonious but different sound. There are sonorous dramatic soprano, gorgeous coloratura soprano and ethereal lyric coloratura soprano and so on. All of them have their own artistic features and perfonnance effects so as to be in accordance with different characters’status, age, race,nature and temperament characteristics.It is noteworthy that in Mozart’s day, soubrette soprano played an important part in his opera in order to cater to people’s love for castrato’s gorgeous and light tone. The tone of these singers sometimes sounds gentle and beautiful, sometimes bright and light. In addition, the characters are young and beautiful. They are typical images of soubrette soprano in opera, which is also called the "trumpet lyric soprano".The choice of two soprano roles of Mozart’s Don-Huang and Figaro’s wedding shows that almost all the young girls in the plays uses the vocal type of light lyric soprano. All of them are young, beautiful, lively and playful. It is such external conditions that need matching the light soft timbre to enrich their artistic image on stage.As the vital part of voice in Mozart opera, Soubrette soprano is often used for decesive characters, so this kind of opera roles have their own typical despositions and status. Susanna in "The Marriage of Figaro" and Zerlina in "Tang-Huang"’, are representative roles of Soubrette soprano. Their chant tune in light lyric soprano repertoire is often used to sing and teach. Through analysis of the singing of Soubrette soprano aria, this thesis is going to give a further explanation of its scientific singing methods and attempts to explore the related problem of its vocal learning and teaching.