A Study Of Characters In Mezzo-soprano Opera

The shape of the mezzo-soprano emerged in the thirteenth and fourteenth centuries,and its unique silky,silky timbre became one of the favorite parts of the composer's opera creations,and shaped such as Rossina and Carmen.Classic character.The personality characteristics displayed in the characters of the opera cannot be separated from the background of the times and the surrounding environment.In the 19 th century,Europe was surrounded by the impact of social,political,and industrial revolutions.The Italian composer Rossini and French composers were better than others.The creation of opera characters with different personalities reflects the background of the times and the lives of the people.Through the expression of operas,it shows the charm of opera art forms.The creation of characters in operas is a process by which composers assign distinctive character traits to opera characters.These opera characters may express patriotic emotions,show new trends of thought,or pursue liberation,pursue supreme freedom,and so on.Most of these characters are performed in the form of arias.Each aria is made up of its specific type of voice.This article selects the roles of Rossini and Bica's two operatic female opera characters as the research direction,taking Rosina's “Singing with Wonderful Songs in the Wind” and Carmen's “love as a naughty bird” as landmarks.Research perspectives for analysis.It depicts two mezzo-soprano opera characters with distinctive character and charm,Smart and Brave Rossina,and Carmen who are intrigued.The content of this article is divided into four parts.Based on the backgrounds of the creation of “Lovely Songs Ride” and “Love is like a naughty bird”,the composer's creative style,and the analysis of music language,this article has studied the characters of Rosina and Carmen.Overview: Part I: An overview of the basic situation of the appearance and development of mezzo-sopranos,and a brief discussion of the three categories formed in women's melodies during the development process.The second part: Rosina's character analysis.This article discusses Rossini's style of opera creation and his dexterous and ingenious introduction to Rossina's character and his analysis of music language and Bartoli's singing.The third part: Carmen persona analysis.This article discusses BiCai's creative style,his Carmen's enthusiasm,his brief introduction to Carmen's character,and his analysis of the music language and Belgant's version of the song.Part IV: Through the analysis of the first three parts,the fourth part first briefly describes the connection and significance between the operatic character and the mezzo-soprano,and concludes the author's grasp and comprehension of the singing experience of the two works.