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The Dramatic Mezzo-Soprano is a complex voice, one of many colors and personalities. These qualities can easily lead to misconceptions concerning appropriate repertoire as the Dramatic Mezzo-Soprano develops vocally. Indeed, the excitement of teachers, directors, and other professionals in the field over this rare fach can sometimes lead to young Dramatic Mezzo-Sopranos singing arias before they have the necessary musicality, communicative skills, and vocal technique to do so. Concerning her opinion regarding vocal health as it relates to repertoire, renowned Dramatic Mezzo-Soprano Dolora Zajick, who is also the General Director of the Institute for Young Dramatic Voices, said:
Well, I think the important thing is to sing what is right for you. Young singers get into trouble because they like the piece rather than what is right for them or what makes them look good . . . it's like wearing clothes . . . sometimes people like things that don't necessarily look the best on them . . . but you have to have repertoire that suits your voice at your level of development if you really want to sound your best.1
Because the Dramatic Mezzo-Soprano voice is one of considerable size and power, some teachers of singing may believe that art song is too limiting for this type of instrument. As this article demonstrates, however, having a young Dramatic Mezzo-Soprano focus on art song rather than operatic repertoire is a crucial tool in teaching her the necessary vocal technique, dramatic flair, and musical skills she will need in order to sing the often-demanding Dramatic Mezzo-Soprano operatic roles. Learning technique and skills within the context of art song, and then transferring them into operatic repertoire when the singer is advanced enough to approach it, also helps to ensure that the voice remains healthy and that the singer is not pushed too far too soon.2
Factors in Choosing Repertoire
When choosing repertoire for any singer, several criteria must be considered. According to Barbara Doscher, these include the physical limitations of the singer, the voice classification of the singer, expressive/emotional factors, and musicianship skills.3 These criteria will differ depending on whether the student is at a beginner, intermediate, or advanced level.4 Marilee David suggests that the difficulty of the music and extremes of range should...