| Dramatic Mezzo-Soprano Roles |
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| Opera |
| Role |
| Amneres |
| Jocsate |
| Princess Eboli |
| Composer |
| Klytemnästra |
| Casandra |
| Didon |
| Joan of Arc |
| Composer (pants) |
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| Corton Charelmagne, BOUCHARD PERE & FILS, Burgundy, 1994
A bit earthy, with racy lemon pie, passion fruit and toast notes. Harmonious fruit, spiciness and richness, describe this one of a kind Grand Cru. Hints of oak and honey help to accentuate a long and luscious finish. Elegant and medium-bodied. |
| Dramatic mezzo--this voice type was often used, especially in the 19th century, to portray older women, mothers, witches and evil characters. Verdi made much of this voice type: Azucena (Il trovatore), Eboli (Don Carlos) and Amneris (Aida) are all dramatic mezzo roles. In the French literature Carmen stands out. Lighter mezzo roles exist in the German repertoire, like Octavian in Der Rosenkavalier, Cherubino in The Marriage of Figaro (although the role is sung in Italian), Orlofsky in Die Fledermaus and the Composer in Ariadne. Heavier mezzo roles, true dramatic mezzo roles, in the German repertoire include Brangäne in Tristan und Isolde, Kundry in Parsifal (although sometimes sung by a soprano) and Klytemnästra in Elektra. |
| Help me here - What wine would you think best represents the Dramatic Mezzo-Soprano voice? - Email to 'This is Opera.' |
| Azucena |
| Cornelia |
| Governess |
| La Gioconda |
| La Cieca |
| Ponchielli |
| La Gioconda |
| Laura |
| Ponchielli |
| Madelon |
| Giordano |
| Pauline |
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