a voice teacher prepares- using art song as a teaching tool for t
TRANSCRIPT
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University of Iowa
Iowa Research Online
eses and Dissertations
2011
A voice teacher prepares: using art song as ateaching tool for the role of Sophie in Der
RosenkavalierTara Diane WareldUniversity of Iowa
Copyright 2011 Tara Diane Wareld
is dissertation is available at Iowa Research Online: hp://ir.uiowa.edu/etd/1103
Follow this and additional works at: hp://ir.uiowa.edu/etd
Part of the Music Commons
Recommended Citation Wareld, Tara Diane. "A voice teacher prepares: using art song as a teaching tool for the role of Sophie in Der Rosenkavalier." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2011.hp://ir.uiowa.edu/etd/1103.
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Copyright by
TARA DIANE WARFIELD
2011
All Rights Reserved
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Graduate CollegeThe University of Iowa
Iowa City, Iowa
CERTIFICATE OF APPROVAL
_______________________
D.M.A. ESSAY
_______________
This is to certify that the D.M.A. essay of
Tara Diane Warfield
has been approved by the Examining Committeefor the essay requirement for the Doctor of Musical Artsdegree at the May 2011 graduation.
Essay Committee: ___________________________________Stephen Swanson, Essay Supervisor
___________________________________Shari Rhoads, Essay Supervisor
___________________________________Christine Getz
___________________________________
Alan Huckleberry
___________________________________John Muriello
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To Duane
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ACKNOWLEDGMENTS
I would like to express my gratitude to my committee: Stephen Swanson, Shari
Rhoads, Christine Getz, Alan Huckleberry and John Muriello. I thank you for your
advice, assistance, and patience in this project. Stephen Swanson, my voice teacher and
advisor, I thank you for all of the time you invested in this topic. Your dedication and
personal interest proved invaluable to me. Shari Rhoads, my coach and mentor, your
passion for music is infectious. You inspire me to be a better teacher and musician. I
will proudly pass on the musical traditions you have so generously shared.
It is safe to say that without Jerry Daniels I would have never embarked on this
journey in the first place. Thank you for opening my eyes to the world of singing and
teaching. You saw the potential in me and nurtured my desire to sing and teach. I will
always be grateful to you.
Finally, I must thank my parents and family who supported my musical interest
from a young age. You attended countless concerts, recitals, musicals and operas. Your
unending encouragement, love, and patience made this process even more meaningful.
Duane, I cannot imagine making it through school without you. There is no one else with
whom I would have rather shared this journey and I am honored to have you by my side.
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TABLE OF CONTENTS
LIST OF MUSICAL EXAMPLES ......................................................................................v
LIST OF FIGURES .......................................................................................................... vii
INTRODUCTION ...............................................................................................................1
Statement of the Problem ..................................................................................1
Method of Research ..........................................................................................2
CHAPTER I STRAUSS LIEDER AND DER ROSENKAVALIER .....................................6
The Process .......................................................................................................6
Background Information on Der Rosenkavalier ...............................................6
The Role of Sophie Faninal ..............................................................................9
Strauss Lieder .................................................................................................13
Background Information on the Libretto ........................................................15
CHAPTER II MUSICAL CONSIDERATIONS ...............................................................17 Act II: Sophie’s Requirements ........................................................................17
Act III: Sophie’s Requirements ......................................................................51
CHAPTER III DRAMATIC CONSIDERATIONS ..........................................................73
Art Song ..........................................................................................................75
Aria and Character Study ................................................................................76
Sophie’s Emotions ..........................................................................................77
Joy and Young Love ................................................................................77
Fear ..........................................................................................................79
Passionate Love .......................................................................................81
Musical and Dramatic Examples ....................................................................85
CONCLUSION ..................................................................................................................86
APPENDIX: ANNOTATED BIBLIOGRAPHY ..............................................................88
Vocal Pedagogy Resources .............................................................................88
Acting Resources ............................................................................................97
Opera Workshop and Opera Resources ........................................................100
BIBLIOGRAPHY ............................................................................................................104
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LIST OF MUSICAL EXAMPLES
Musical Example 1: R. Strauss, Der Rosenkavalier, Act II, “In dieser feierlichenStunde der Prüfung”..................................................................................................18
Musical Example 2: R. Strauss, “Allerseelen”, mm. 30-43 ...............................................20
Musical Example 3: R. Strauss, “Ich trage meine Minne” , mm. 18-25. ............................21
Musical Example 4: R. Strauss, “Einerlei”, mm. 19-35 ....................................................22
Musical Example 5: R. Strauss, Der Rosenkavalier, Act II, “Demütigen und recht bedenken.” ................................................................................................................24
Musical Example 6: R. Strauss, “Amor”, mm. 7-18 ..........................................................26
Musical Example 7: R. Strauss, “Kling!”, mm. 16-26.......................................................27
Musical Example 8: R. Strauss, “Der Pokal”, mm. 1-8. ....................................................28
Musical Example 9: R. Strauss, “Heimkehr”, mm. 27-43. ................................................30
Musical Example 10: R. Strauss, Der Rosenkavalier, Act II: Presentation of theRose, “Ich bin Euer Liebden” ...................................................................................32
Musical Example 11: R. Strauss, Der Rosenkavalier , Act II, “Wie himmlische,nicht irdische” ...........................................................................................................34
Musical Example 12: R. Strauss, Der Rosenkavalier, Act II, “Ist Zeit undEwigkeit/Wär’ ich kein Mann” .................................................................................36
Musical Example 13: R. Strauss, “Als mir dein Lied Erklang”, mm. 13-28 .....................38
Musical Example 14: R. Strauss, “Traum durch dir Dämmerung”, mm. 1-6 ....................40
Musical Example 15: R. Strauss, “Ich schwebe”, mm. 70-88 ...........................................42
Musical Example 16: R. Strauss, Der Rosenkavalier, Act II, “So nennen Ihn halt” .........43
Musical Example 17: R. Strauss, “Schlechtes Wetter”, mm. 74-81 ..................................44
Musical Example 18: R. Strauss, “All mein Gedanken”, mm. 1-12 ..................................45
Musical Example 19: R. Strauss, Der Rosenkavalier, Act II, “Hat nie kein Manndergleichen Reden nicht zu mir geführt!”.................................................................46
Musical Example 20: R. Strauss, Der Rosenkavalier, Act II, “Er muß mir SeinenSchutz vergönnen” ....................................................................................................48
Musical Example 21: R. Strauss, “Ich wollt ein Sträusslein binden”, mm. 1-15 ..............50
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Musical Example 22: R. Strauss, Der Rosenkavalier, Act III, “Ich weiß nicht, wasEuer Gnaden meinen mit der Frag’.” ........................................................................52
Musical Example 23: R. Strauss, “Morgen!”, mm. 30-43 .................................................54
Musical Example 24: R. Strauss, “Nachtgang”, mm. 13-28 ..............................................56
Musical Example 25: R. Strauss, Der Rosenkavalier , Act III, “Ich möcht michniederknien dort.” .....................................................................................................58
Musical Example 26: R. Strauss, “Die Nacht” , mm. 33-45 ...............................................60
Musical Example 27: R. Strauss, “Wiegenlied”, mm.71-78 ..............................................61
Musical Example 28: R. Strauss, “Cäcilie”, mm. 38-52 ....................................................63
Musical Example 29: R. Strauss, “Zueignung”, mm. 23-30. .............................................64
Musical Example 30: R. Strauss, Der Rosenkavalier, Act III, “den ich spür/und
g’rad’ an die” ............................................................................................................65
Musical Example 31: R. Strauss, Der Rosenkavalier, Act III “dich hab’ ich lieb” ...........66
Musical Example 32: R. Strauss, Der Rosenkavalier , Act III, “Ist ein Traum/Spür’nur dich” ...................................................................................................................68
Musical Example 33: R. Strauss, Der Rosenkavalier, Act III, “Ist ein Traum/Spür’nur dich” ...................................................................................................................69
Musical Example 34: R. Strauss, “Du meines Herzens Krönelein”, mm. 1-8. ..................71
Musical Exam ple 35: R. Strauss, “Heimliche Aufforderung”, mm. 30-42 .......................83
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LIST OF FIGURES
Figure 1: Text and poetic translation of “Seitdem dein Aug’”. .........................................78
Figure 2: Text and translation from Act II, “Wo war ich schon einmal und war soselig?” .......................................................................................................................79
Figure 3: Text and Translation of “Die Nacht” .................................................................80
Figure 4: Text and translation of “Heimliche Aufforderung”. ..........................................82
Figure 5: Text and translation of “Ständchen” ..................................................................84
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INTRODUCTION
Statement of the Problem
According to an article in Opera America, young singers are entering the
professional world without the necessary skills to succeed. Robert Swedberg of the
University of Michigan states, “There seems to be a lack of language training,
incorporated music/dramatic training, and real opportunities to perform roles with
orchestra in many academic programs. Institutions that provide the balance of these
elements in preparation for a real career as performers are rare.”1 David Alt, professor of
voice at the University of Miami recently conducted a survey regarding the preparation of
singers. He interviewed conductors, composers, and casting directors to assess the
quality of vocal and musical preparation college graduates receive. Unfortunately, he
found many singers did not have the vocal stamina to sustain a full weekly schedule of
rehearsals and performances nor the ability to sightread well.2 Lenore Rosenberg,
Director of the Lindemann Young Artist Program at The Metropolitan Opera, travels the
United States and Europe to hear auditions by young singers. Rosenberg‟s perspective is
unique in that she sees the varying standards in different countries. She also sees the
gaps in the education of young singers. In a dialogue with Robert C. White in the Journal
of Singing, Rosenberg expresses her thoughts on the gaps in the educational system by
saying,
There seems to be a gap between what the school wants a singer tolearn in order to get the degree and what the singer actually needs
1 Robert Swedberg, “Letters from the Board,” Opera America Newsline. 16, no. 2(September 2006): 4.
2 David Alt, “Popular Song and Music Theater: Triple Threat Training Program‟sWeakest Area- Reading Music: Reinforcing Sight Reading in the Voice Studio forSinger/Actors,” Journal of Singing-The Official Journal of the National Association of Teachersof Singing 60, no. 4 (2004): 389.
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to learn in order to be hired as a performer. Some people teachingvoice in universities never had performing careers, but eventeachers who have had careers don‟t know how the profession haschanged or they are living in cultural isolation to the degree thatthey don‟t know what is needed to be hired today.3
She later adds, “the singers I am involved with go to school to be opera singers. Do the
schools intend that, or do they have something else in mind? I am finding that schools
are not teaching to the needs of the profession.”4 Performance majors do not always
choose opera as their specialty, but many students aspire to perform with opera
companies. While Swedberg, Alt, and Rosenberg all have different roles in the
professional opera world, they all agree that singers are not receiving the training that is
necessary to become successful singer-actors in order to be competitive in opera
companies around the world.
Method of Research
Most singers emerge from their college experience with only basic knowledge of
acting skills, foreign languages, score analysis, and characterization. The studio teacher
bears a significant portion of the responsibility in training a performer who is strong
vocally, artistically, and dramatically. Traditionally, voice teachers use art song as a tool
to build vocal technique and to introduce students to foreign languages. I propose
teachers use art songs, but add characterization and dramatization skills to the list of
techniques required for the student.
The primary role the private studio teacher is to guide each student to form a
technical foundation. The consistent work in the private studio develops the relationship
3 Robert C. White, “Voice Pedagogy: Reality Check! Training for an Operatic Career,” Journal of Singing- The Official Journal of the National Association of Teachers of Singing 64,no. 2 (2007): 190.
4 Ibid.
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between voice teacher and student. In many respects, the voice teacher is the protector
and guide for the student in all areas of technique and the student must rely on the ears
and knowledge of her teacher. The studio teacher selects appropriate repertoire for her
level of study giving the student a chance to develop her vocal technique in addition to
her musicianship skills, including phrasing, melodic styles, text declamation, and
dramatic interpretation within a small genre context. Interpretative skills, such as
character development, structural analysis, text analysis, and a comprehension of various
vocal styles are also essential elements in becoming a singer-actor. The responsibility of
teaching these interpretive skills often falls solely upon the opera director or vocal coach.
However, when the voice teacher integrates these skills into his regular teaching, there is
more continuity for the student and a greater potential for growth. Once the student
begins to develop these technical and interpretive skills, she can delve into more
advanced study of operatic repertoire.
Specifically, I submit that the concepts learned through the study of Richard
Strauss Lieder will prepare the student for a role in a Strauss opera. There are opera
composers who also compose in the art song genre, however, these same composers
rarely construct their art songs in a style similar to their operatic compositions. Strauss is
among a select few composers whose art songs work well to prepare the student for
Strauss‟s operatic writings. Gaetano Donizetti, Vincenzo Bellini, and Giuseppe Verdi all
composed art songs in a style that one can see precursors to their bigger works. Der
Rosenkavalier does not contain arias per se, but the compositional style used throughout
the opera can be found in several of his Lieder.
Because of these similarities, the role of Sophie from Der Rosenkavalier is a
primary example of how the study of the art song compositions of the self same operatic
composer can lead to an appreciation and understanding of a role. A developing singer
will need time to study the musical and dramatic style of a composer as well as develop
the vocal maturity necessary to approach the role. In this instance, Strauss art song study
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will serve as an introduction to the musical and dramatic skills required for Sophie. Art
song will help build a technical and stylistic foundation for the student for the moment
when she is able to begin operatic study.
Vocal pedagogy resources, including texts by Richard Miller, Berton Coffin,
Meribeth Bunch Dayme, Clifton Ware, Shirlee Emmons, Barbara Doscher, William
Vennard, Ralph Appelman, Robert Caldwell, and Joan Wall, specifically address vocal
technique in the studio. There are also resources for the opera workshop director
regarding interpretation and acting techniques by Boris Goldovsky, Constantin
Stanislavski, H. Wesley Balk, Mark Ross Clark, and David Ostwald (See the Appendix
for an annotated bibliography of available resources.) However, the voice teacher has
little guidance when it comes to training a complete singer-actor.
In order to better prepare singers for the professional world, the studio teacher can
introduce and incorporate acting techniques and maintain them throughout the years of
training with every singer. Voice teachers need to understand the importance of
integrating these concepts into their voice studio. Mark Ross Clark, former professor at
Indiana University at Bloomington, observes, “Singers need a safe place to juggle and
experiment with the integration of voice, drama, and movement. All too often, the first
time that singers are asked to present a fully integrated performance is onstage.”5 When
the teacher permits the student to explore and experiment in the privacy and safety of the
studio, it allows the student to develop their performer‟s ego and prepare for exploration
within a group setting, as in an opera workshop. David Ostwald adds, “The goal of good
acting-singing is to communicate all the nuances of the music, text, and characters so that
the audience has a fulfilling aesthetic and emotional experience.”6 The student who
5 Mark Ross Clark, Singing, Acting and Movement in Opera (Bloomington, Indiana:Indiana University Press, 2002), xi.
6 David F. Ostwald, Acting for Singers (New York: Oxford University Press, 2005), 20.
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acquires these skills will be equipped for success on the operatic stage and will continue
to learn and grow throughout her career.
It is the intent of this paper to examine art songs as a studio specific tool for the
preparation of singing actors, to view art song as not only an artistic end in itself, but also
as a valuable dramatic tool that acquaints the students with a composer‟s declamatory
style, dramatic and harmonic language, and characteristic approach to vocal writing. Art
song is a safe, intimate genre, which teachers can use to prepare the student for the larger,
more complex operatic form. The product is a singer who is confident in her approach,
diligent with her study, and complete in performance. In order to clarify these skills, I
will examine the role of Sophie in Der Rosenkavalier by Richard Strauss, the skills
required for the role and how they can be learned and applied through the study of
specific examples from Strauss Lieder. Once the student acquires the necessary skills
involved with art song, the student will apply similar skills to various operatic roles.
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CHAPTER I
STRAUSS LIEDER AND DER ROSENKAVALIER
The Process
The transition from art song to aria is both challenging and exciting for the
teacher and the student. To begin the process of selecting which art songs will best serve
as teaching tools for the student, a complete musical and dramatic analysis of the role in
question is required. This is a task not just for the teacher, but the student as well. While
it is the responsibility of the teacher to ensure the repertoire is appropriate, the student
should participate in this process as well. There will come a time when the student will
need to choose such things for herself and make decisions regarding which roles to accept
or decline. The advantages the student will gain are invaluable and will ultimately save
the student many hours in the practice room when she is ready to learn the role. Once the
groundwork is laid and the singer is vocally capable, the knowledge learned from art
song study and performance can be transferred to the role.
Background Information on Der Rosenkavalier
In 1910, after a mere eighteen months, Strauss completed opus 59, Der
Rosenkavalier .7 Strauss described his music as “Mozartian, but true to myself; the
orchestra is by no means small, but Mozart was delighted to hear one of his own
symphonies played by an orchestra with a hundred violins.”8 The score calls for a pit
orchestra as well as a stage band for Act III. Strauss uses a larger orchestra than Mozart
typically used in his operas, but Strauss clearly indicates in the score that the size of the
7 Alan Jefferson, Der Rosenkavalier, Cambridge University Press, 11.
8 William Mann, Richard Strauss: A Critical Study of the Operas, (London: Cassell andCo., Ltd, 1964), 100.
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orchestra can and should be adjusted so that is does not interfere with the clarity of the
text.9 Strauss‟s attention to detail in his orchestration proves it was a priority for the text
to be heard and understood above the orchestra.
Strauss preferred the soprano voice and according to Linda Lister, there are two
types of Straussian soprano roles. The first is a prima donna role, which requires “a voice
of substantial size and silvery sheen as well as a sensitive and strong stage presence.”10
Roles such as the Marschallin in Der Rosenkavalier , Ariadne in Ariadne auf Naxos and
the title role from Arabella belong in this prima donna category and sopranos Lotte
Lehmann, Elisabeth Schwarzkopf, Renée Fleming, and Kiri Te Kanawa have sung these
roles skillfully. The second classification of Strauss soprano roles is the ingénue, who
typically represents a younger, more innocent character and requires a lighter vocal
timbre. The role of Sophie from Der Rosenkavalier belongs in this category, as does
Zdenka from Arabella. Elisabeth Schumann, Lucia Popp, and Barbara Bonney have all
performed these roles with great success. There is one other type of ingénue contrasting
to the roles of Sophie and Zdenka. This sub-category consists of soubrette roles
including Zerbinetta from Ariadne auf Naxos and The Fiakermilli in Arabella. These
soubrette roles require “flashy coloratura” and the characters are more flirtatious and less
innocent than the ingénues.11
Strauss preferred composing for the soprano voice and sopranos likewise enjoy
singing Strauss as the variation in his roles allows most sopranos to find a niche. In
9 Richard Strauss, Der Rosenkavalier (Comedy for Music in three acts), libretto by Hugovon Hofmannsthal, Richard Strauss Edition of Orchestral Score (Mainz: Schott MusikInternational GmbH & Co, 1996), 1.
10 Linda Lister, “The Straussian Soprano” in Journal of Singing- The Official Journal ofthe National Association of Teachers of Singing . 55:5 (May-June 1999), 16.
11 Lister, 17.
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addition, many sopranos begin in a soubrette or ingénue role and progress to the prima
donna category. Lister continues, “His soprano roles serve as dramatic vehicles for
prototypes of the Straussian soprano: a complete singer/actress who is able to realize
Strauss‟s lifelong operatic exploration of the female psyche.”12 These lighter Strauss
roles serve as a teaching tool for more dramatic Strauss roles and provide the opportunity
for sopranos to develop and mature vocally within his works.
In Der Rosenkavalier, Strauss designated two roles for hoher Sopran: Marianne,
the duenna (female chaperone), and Sophie, the young daughter of a wealthy parvenu
(man of newly acquired wealth). The role of Marianne is a comprimaria or secondary
role, whereas Sophie is the principal high soprano role. Sophie is clever, witty, and
beautiful. She has recently returned home after living in a convent. The libretto does not
specify when Sophie moved to the convent, but perhaps her father sent her there to live
after her mother died while she was still young. In the beginning of Act II, Sophie states
that she is alone because her mother is dead. However, joy of the pending presentation of
the rose ceremony overshadows any sorrow she may feel. More details will become
known regarding Sophie‟s character, but it is important to note that a thorough
knowledge of Sophie‟s family background is important when preparing the role.
The knowledge of the historical background and tradition is important during
Sophie‟s first scene. Act II opens with preparations for the arrival of the Rose-bearer,
Octavian. It is an Austrian-Hungarian tradition to present the future bride with a silver
rose as a sign of betrothal. According to tradition, the rose is delivered to the future bride
by a relative of the groom, not the intended groom himself. Etiquette requires the bride‟s
father be absent when the Rose-bearer or Rosenkavalier arrives.13 In Der Rosenkavalier ,
12 Lister, 18.
13 Nico Castel, Four Strauss Libretti (Geneseo, New York: Leyerle Publications, 2002),4-5.
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the Marschallin suggests Octavian to Baron Ochs von Lerchenau in Act I. The
Marschallin received a letter from the Baron asking her assistance in procuring someone
to deliver the traditional silver rose, but she has yet to respond. The baron also needs the
Marschallin to recommend a notary, as the details of the marriage contract have not been
finalized. She suggests her own notary who will be arriving shortly and the legalities of
Sophie‟s dowry can be settled. Baron Ochs finally leaves, handing over the silver rose to
the Marschallin for Octavian to deliver to his future bride. In Act II, Octavian appears
dressed in white and silver to fulfill his role in the tradition in the presentation of the
betrothal silver rose.
The Role of Sophie Faninal
Even at the tender age of 15, Sophie is eager to meet her future husband and
hopeful for a blissful married life. Unfortunately, her dreams collapse as soon as she sees
her intended: the pompous, overbearing Baron Ochs. He is much older than she
expected and his behavior is vulgar. She feels momentarily conflicted by her sense of
duty to her father and her own ideals for her marriage. This conflict does not last long as
she realizes she will be trapped in a loveless marriage if she does not act quickly.
Octavian comes to her aid out of love and gives her courage to stand up for herself.
Eventually in the third and final act, Sophie and Octavian trick the Baron, exposing him
as a fool, humiliating him in front of everyone. In the end, Sophie and Octavian receive a
blessing on their union from the Marschallin (the woman with whom Octavian was
previously having an affair) and the story ends happily for the young couple.
As Sophie makes her entrance in Act II, she is inwardly excited yet outwardly
demonstrating her sense of duty, but the excitement appears in her melodic line despite
her reserved words and actions. The thought of meeting her betrothed is thrilling, yet the
unknown leads her to proceed with caution. Growing up without her mother factors into
her state of mind as Act II begins. William Mann offers this characterization:
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Sophie… is left alone to compose herself for „this solemn hour of trial‟ as shedescribes it, a time for pious self-abasement and self-dedication to the Almighty.She is not entirely successful in this exercise, partly because her chaperoneMarianne keeps disturbing her with tidbits of running commentary, but also because she does not really believe in the lessons of humility that she has been
taught in the convent... She has furthermore grown up without a mother‟sguidance, Frau Faninal having died some time earlier, and so she has neverlearned to think for herself. But she is a girl of some spirit, and this willeventually prove her salvation.14
George Marek introduces Sophie as “young, pretty and innocent. Her innocence is
relieved by a good deal of spunk. She stands up for herself, convent or no convent.”15
Despite her youth and upbringing, Sophie adapts to her situation. As the story
progresses, Sophie learns about life, love and develops a stronger sense of self and
independence.
There are three important male relationships of note in Sophie‟s life. Her
relationships with her father, Baron Ochs, and Octavian, the Rose-bearer, all offer
different insights into her character. Sophie is not close to her father, despite the fact that
her mother died. Growing up in a convent seems to have severed the family ties. Despite
this, she feels her father has her best interests at heart, which is why she is highly
anticipating her upcoming marriage to Baron Ochs. It is not until she meets Ochs that
she realizes this marriage is not about love, but money. Her almost immediate dislike of
Ochs is a reaction to his vulgarity. He does not even attempt to woo her or treat her
lovingly. After the Baron examines her, Sophie immediately turns to Marianne, her
duenna, for help saying, “Was sind das für Mänieren? Ist da leicht ein Rosstaucher und
kommt ihr vor, er hätt’ mich eingetauscht ?” (“What are manners these for? Is he perhaps
14 Mann, 123.
15 George Marek, “The Music of Poetry or the Poetry of Music?” as seen in (New York:Metropolitan Opera Association, 1982), xiii.
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a horse dealer and he imagines he has traded me?”).16 Marianne offers no reassurance,
yet another sign this marriage is nothing more than a business deal. Neither Sophie‟s
father (Herr Faninal) nor Marianne seem appalled by the remarks of Ochs. Sophie
recognizes she cannot depend on either of them to rescue her from this situation. For the
first time in her young life, she must assert her independence.
In Der Rosenkavalier, Sophie is often overlooked or dismissed as asimple schoolgirl in comparison with the Marschallin. A sopranowith dramatic charm and the proper beauty of vocal tone cantransform her into an enchanting figure. Not simple at all, thevocal demands of the part are considerable. Due to its taxingtessitura, this role requires a voice that is high and light enough tolinger in that pitch area yet strong enough to spin out long phrases.Her elevated, floating lines seem to depict her almost ethereal
ingenuousness and romantic idealism.17
As one can see, it is a difficult role to master, but renowned soprano Elisabeth
Schumann portrayed Sophie to Lotte Lehmann‟s Marschallin in the 1933 premiere at the
Vienna State Opera. Lehmann described Ms. Schumann‟s portrayal of Sophie as
encompassing “the shy loveliness of a terribly young and vulnerable innocent creature
roused to struggle for the first time in her life by the insulting brutality of her fiancé,
Baron Ochs.”18 It is during her introduction to the Baron that Sophie realizes the
relationships she thought she had with her father and Marianne are not what she had
believed them to be. They offered her no protection. She must depend upon herself if
she is going to change her pending disastrous marriage.
The relationship between Sophie and Octavian, the chosen Rose-bearer, is another
unexpected, yet welcome surprise for Sophie. The young couple meets and Sophie
16 Castel, 96.
17 Lister, 17.
18 Lotte Lehmann, Five Operas and Richard Strauss (New York: The MacmillanCompany, 1964.), 173.
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immediately tells Octavian she has “looked him up in the Austrian Almanac of
Honors.”19 She knows all of his baptismal names as well as his nickname, Quinquin.
They have only just met, but already Sophie knows more about Octavian‟s background
than he does about her. What she does not know is that Octavian is having an affair with
the Marschallin, an older, married woman. Sophie goes on to tell him of her upcoming
nuptials and shares her excitement, although she adds she will stand up for her rights as a
wife: “wenn, es sein muss , mit Ohrfeigen ihr beweisen” (“if it must be, with a boxing on
her ears show her ”).20 She sees this marriage as her duty and required by her position.
In addition, “boxing someone on the ears” shows Sophie‟s charm, albeit middle class.
Octavian seemingly admires her charm, youth, and wit, a personality that contrasts with
those of the Marschallin in almost every way. Sophie‟s chatter is partially related to her
nervousness, but she quickly becomes more at ease as the conversation with Octavian
continues and her nescient relationship with him begins to grow and develop.
A final relationship of importance exists between Sophie and the Marschallin,
who do not meet until Act III. Sophie observes the relationship between Octavian and
the Marschallin and begins to see her as a threat. The Marschallin ultimately gives
Sophie her blessing, resigning to the fact that she is no longer youthful nor is she able to
compete with Sophie. Both Sophie and Octavian realize their futures have altered
dramatically in such a short time. By the opera‟s conclusion, Sophie and the Marschallin
have psychologically matured and Sophie has the future she dreamed of having in the
beginning of Act II, with a love she chose, not a man selected for her.
Through perceptive role analysis, we can see Sophie is a complex character, both
musically and dramatically. Once the musical and dramatic analysis of a role is
19 Castel, 91.
20 Castel, 94.
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complete, art song selection can begin. If the opera composer also composed art song,
this is an obvious place in which to begin. The teacher and student must examine the
dramatic characteristics and musical requirements of the role. Sophie in Der
Rosenkavalier dramatically moves through a range of emotions. Her relationships with
others are diverse and she matures as the opera progresses. Musically, the role of Sophie
requires a high, lyric soprano who must be very comfortable with an unrelentingly high
tessitura. The role contains long phrases and endurance is a necessity. Sophie is a
musical and dramatic challenge for even the most gifted soprano. Richard Miller
observes, “Only a technically secure soprano of vocal maturity ought to be tackling
Sophie‟s demands. Her cumulative long phrases are typical of Strauss.”21 This is a
difficult task, but rewarding for both the teacher and student. As the singer develops each
skill, the role of Sophie will begin to take shape.
Strauss Lieder
Strauss wrote two hundred and five songs, many of which he also orchestrated.22
Strauss composed his songs with orchestral accompaniment in mind. Alan Jefferson goes
so far as to say that the accompaniments are a mere “piano reduction” of the orchestral
score Strauss heard in his mind from the time of composition.23 A table listing the titles
and dates of Lieder, which Strauss originally composed for voice and piano and then later
orchestrated himself can be found in an essay by Christine Getz in The Richard Strauss
Companion.24 When Strauss focused his writing on opera, other composers began to
21 Richard Miller, Solutions for Singers (New York: Oxford University Press, 2004), 135
22 Alan Jefferson, The Lieder of Richard Strauss (New York: Praeger Publishers, 1971),ix.
23 Jefferson, The Lieder of Richard Strauss, 14.
24 Getz, Christine. “The Lieder of Richard Strauss,” in The Richard Strauss Companion,ed. Mark-Daniel Schmid (Westport, Connecticut: Praeger, 2003), 365.
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orchestrate his Lieder. Strauss approved of these orchestrations because he often used
them himself in concerts and recitals.25 Jefferson continues, “Strauss was always
happiest when composing for the soprano voice. He wrote several lieder for basses, but
he was seldom sympathetic toward tenors.”26 This is not surprising as Strauss was
married to a soprano and he provides many opportunities for sopranos to use his Lieder
as a starting point for his operatic roles. Listening to orchestral versions of Lieder is
beneficial to the student as her ear will grow accustomed to Strauss‟s harmonic and
accompanimental texture and style.
There are several significant sources available on Strauss Lieder . In two early
sources, Barbara Peterson and Alan Jefferson categorize Strauss‟s songs differently.
Petersen divides Strauss Lieder into three categories based upon style: lyric, dramatic and
declamatory.27 Most of Sophie‟s music falls into the lyric category, but contains some
declamatory and dramatic moments as well. Sophie sings in all three styles; therefore,
selections from each category will be necessary to prepare the singer for this role.
Strauss scholar, Jefferson, classifies the songs by mood and text using lusty songs, love
songs, sentimental songs and songs describing seasons or time of day as categorical
headings.28 Sophie experiences a variety of emotions ranging from joy to fear and anger
to passion. Strauss songs contain examples of these emotions as well, allowing the
student to study and explore these feelings in a more intimate genre. While both of these
authors offer insight into Strauss‟ Lieder repertoire, neither of their categorizations will
serve as models for this paper.
25 Barbara A. Petersen, Ton und Wort: The Lieder of Richard Strauss (Ann Arbor,Michigan: UMI Research Press, 1980), 14.
26 Jefferson, The Lieder of Richard Strauss, 15.
27 Petersen, 45.
28 Jefferson, The Lieder of Richard Strauss, vii.
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At the fiftieth anniversary of Strauss‟ death in 1999, new research discussing his
Lieder appeared. Suzanne Lodato‟s dissertation entitled, “Richard Strauss and the
Modernists: A Contextual Study of Strauss‟s Fin-de-siècle Song Style” examines poets
and their writings during the late nineteenth century and the effects they had upon
Strauss‟s Lieder writing between 1894-1906, an era of time referred to as his middle-
Lieder compositional period.29 The Richard Strauss Companion, edited by Mark-Daniel
Schmid, appeared a few years later. It is a compilation of essays with topics ranging
from Strauss‟ influences to his instrumental and vocal works. One particular essay
entitled “The Lieder of Richard Strauss” by Christine Getz discusses his entire canon,
giving insight to his text choices, the significance of keys used, text painting, form, and
orchestration.30 Study of the historical background of his Lieder composition will
benefit the student as well as the teacher during the preparation of the role.
Background Information on the Libretto
The declamation of text was important to Strauss. It is clear from the manner in
which he composes. He expresses, “Before I improvise even the smallest sketch for an
opera I allow the text to permeate my thoughts and mature in me for at least six months,
so that the situations and characters may be thoroughly assimilated.”31 The attention to
detail is apparent in each note value and rhythm, as well as his orchestration. “His words
can be heard above the brass and percussion. Strauss wished it so; the words were
29 Suzanne Marie Lodato, “Richard Strauss and the Modernists: A Contextual Study ofStrauss‟s Fin-de-siècle Song Style.” PhD. Diss. Columbia University, 1999.
30 Getz, 335-381.
31 Mann, 100.
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important to him.”32 This was visible in his song composition as well as in his operas,
making his songs ideal for text study in role preparation.
Hugo von Hofmannstahl wrote the libretto for Der Rosenkavalier . Strauss told
Hofmannsthal, “Your nature is so complementary to mine! We were born for each other
and we will certainly accomplish something worthwhile if you remain faithful to me.”33
Strauss was not the only one who recognized the potential partnership. Hofmannsthal
agreed saying, “It is more than a possibility, it is certain knowledge on my part, that we
are destined together to create some, perhaps a number of works, which will be beautiful
and remarkable.”34 Their twenty-four year partnership was a business collaboration
however, not a close personal friendship. On 29 January 1924, in honor of
Hofmannthal‟s fiftieth birthday, Strauss wrote, “It was your words which drew from me
the finest music that I had to give; this knowledge must fill you with deep
gratification.”35 Hofmannsthal‟s response on 14 February 1924 indicates he feels the
same. “Your letter was a good and kind one, and you feel the things exactly as I do
myself.”36 Indeed, their years of collaboration proved they were a good match for one
another.
32 George A. Marek, Der Rosenkavalier (Toronto: Little, Brown and Company, 1982),16.
33 Marek, 16.
34 Marek, 16.
35 Hugo von Hofmannsthal and Richard Strauss, The Correspondence Between RichardStrauss and Hugo von Hofmannsthal. Trans. By Hanns Hammelmann and Ewald Osers.(Cambridge: Cambridge University Press, 1961), 380.
36 Ibid, 381.
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CHAPTER II
MUSICAL CONSIDERATIONS
Act II: Sophie‟s Requirements
Sophie makes her entrance in Act II of Der Rosenkavalier. As Sophie matures
emotionally throughout Acts II and III, her music matures with her. Her melodies are
often full of large leaps, ascending and descending, in all areas of her range. These leaps
occur in recitative as well as in her lyric singing. Her opening phrases in Act II mostly
consist of short phrases and wide leaps reflecting her excitement. Frequent meter shifts
between two-four and three-two reflect her emotions swinging back and forth like a
pendulum. Her vocal line lies in a moderate range, but she cannot contain her
excitement, and this leads to significant leaps above the staff, a reflection of the inner joy
she is futilely trying to hide. Marianne‟s own excitement is not helping the situation.
Sophie tries to humble herself as she awaits the arrival of the Rose-bearer, but ultimately
decides, “aber jetzt kann ich mich nicht demütigen. Jetzt geht’s halt nicht! Denn das ist
ja so schön, so schön!” (But now can I myself not humble. At this moment I simply
can‟t! For this is so lovely, so lovely!).37 Sophie‟s attempts at humility start with her
musical entrance, but her second phrase already climbs above the staff, as seen in
Musical Example 1.
37 Castel, 87-88.
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Musical Example 1: R. Strauss, Der Rosenkavalier, Act II, “In dieser feierlichen Stunde
der Prüfung”38
From a technical standpoint, the singer must be careful not to carry too much
weight into her upper register. The student will tire quickly and the intonation will suffer
if there is too much weight in the sound. The singer can use the color of her sound to
38 Piano-vocal score, 159.
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reflect Sophie‟s youth and innocence. This example lies primarily in the middle range of
the voice. A potential Sophie must have a secure middle register before addressing the
role. Singing Strauss Lieder in a middle tessitura will introduce the student to Strauss
while simultaneously securing her technique. “Allerseelen”, opus 10, no. 8, sits in the
middle of the soprano range with occasional leaps above the staff. It is lyric, yet
chromatic, much like the first excerpt from the opera seen in Musical Example 1. The
accompaniment rarely doubles the voice, but harmonically supports the singer. The key
is E-flat major, but the pervading sense is minor. Text declamation is of prime
importance in this song and Strauss set the text syllabically. A soft dynamic is
maintained until the final moments when the singer mourns her loss, but it quickly
returns to piano to conclude with the refrain, “wie einst im Mai” (as once in May).39
39 40 Songs, 20-22.
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Musical Example 2: R. Strauss, “Allerseelen”, mm. 30-4340
“Allerseelen” is not the only example that could be used to solidify the middle
register. “Ich trage meine Minne”, opus 32, no. 3 like “Allerseelen”, is text driven;
40 Lieder, Complete Edition, vol.1, 22.
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however, the piano accompaniment is more supportive of the singer, often doubling the
melody. In this love song, Strauss is quite particular about his text declamation and
rhythm. He uses sixteenth and thirty-second rests to insure the proper length and stress of
each word. This is customary of his vocal style. His specificity in setting text allows for
accuracy and guides the singer for placement and length of consonants, especially if
German is not the singer‟s first language.
Musical Example 3: R. Strauss, “Ich trage meine Minne” , mm. 18-25.41
The tessitura of “Ich trage meine Minne” is higher than “Allerseelen”. One of the
most difficult aspects of the role of Sophie is the consistently high tessitura. Learning to
manage the passaggio and pitches above the staff requires diligence and consistent
41 Lieder, Complete Edition, vol. 1, 178.
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practice. The student will benefit immensely from studying and performing songs in a
high tessitura. It will improve her confidence, stamina, and control.
The opening phrase of “Einerlei” , opus 69, no. 3, is also similar to Sophie‟s
opening phrase. In addition to the extensive range, there are wide leaps, triplets, and ties
over the bar line. The long phrases require excellent breath management. The triple
meter also lends itself to the waltz style of Der Rosenkavalier. Musical Example 4 shows
the difficult leaps in the opening phrases of “Einerlei”. The piano doubles the voice
throughout the majority of this example. This doubling will help the student feel secure
in her leaps as she utilizes all areas of her range.
Musical Example 4: R. Strauss, “Einerlei”, mm. 19-3542
42 Lieder, Complete Edition, vol. 3, 18.
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As the student prepares for the chromaticism, difficult range, and long phrases in the role,
it must be understood that each circumstance is different and these skills need constant
refining. Successful repetition will strengthen and solidify the vocal technique.
Chromaticism is prevalent in Strauss Lieder, as are long phrases and wide ranges within a
single song. It will not be difficult to find examples addressing these skills.
Returning to the role, Sophie‟s Act II declamatory opening is energetic and joyful.
Various high notes and leaps frequently interrupt her conversation with Marianne
regarding the arrival of the Rosenkavalier, Octavian. This interrupted recitative style is
more characteristic of the young Sophie. Her future life holds great potential at this
point. Her excitement at the beginning of Act II affects her style of communication as
she is using more of her range, yet quickly rising into her upper register. Here, Sophie
futilely attempts to remind herself to be humble and resist evil.
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Musical Example 5: R. Strauss, Der Rosenkavalier, Act II, “Demütigen und recht bedenken.”43
As seen in this next example, the role of Sophie maintains a medium high
tessitura and this is only the beginning of the role. The singer must be very comfortable
with the high tessitura for long periods of time in order to be successful in this role.Strauss wrote a few songs with an extremely high tessitura. “Amor ”, opus 68, no. 5 and
43 Piano-vocal score, 161.
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“Kling!”, opus 48, no. 3 both incorporate soft high notes as well as a difficult tessitura.
Opus 68 is also known as the Brentano Lieder after the poet for the set, Carlos Brentano.
Strauss composed opus 68, with the voice of Elisabeth Schumann in mind, though there
is no evidence that she ever performed them all, neither are they dedicated to her.44 Ms.
Schumann began performing his Lieder after Pauline, Strauss‟ wife, retired from
professional singing after World War I.45 In addition to studying these Lieder from opus
68, it will be beneficial for the student to listen to Schumann as well as other singers
perform Strauss Lieder in addition to recordings of the role.
Sophie‟s “emotional outbursts” occur frequently and her role requires a wide
range, even though her tessitura is high for the majority of the score. “Amor ” contains
dramatic coloratura, which is prevalent throughout the difficult song. Coloratura is not
required of Sophie, however the tessitura required for “Amor ” is a necessity and this song
will help determine the student‟s strength in this area. It maintains an unforgiving
tessitura, with frequent leaps downward, only to soar back up above the staff. The text
speaks of Cupid and how quickly and silently love can sneak into one‟s life and fully
invade it, a subject Sophie is soon to discover.46
44 Kennedy, 192-193.
45 Jefferson, The Lieder of Richard Strauss, 15.
46 40 Songs, 159-164.
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Musical Example 6: R. Strauss, “Amor ”, mm. 7-1847
47 Lieder, Complete Edition, vol. 2, 337.
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The tessitura of “Amor ” is extreme in comparison to what the role of Sophie
requires, but will serve as an excellent teaching tool for negotiating a difficult tessitura.
“Kling!” requires a wide range as well as a soprano comfortable in a high tessitura. The
range of the song extends from G4 to C6. Soft high notes are another requirement of
Sophie and they are present in “Kling!” as well. This Lied speaks of love emerging
where there had been none previously. Love now blossoms within the heart. The singer
can hardly contain his joy as the melody rises phrase after phrase.
Musical Example 7: R. Strauss, “Kling!”, mm. 16-2648
48 Lieder, Complete Edition, vol. 2, 150.
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Another song with a tessitura similar to Sophie‟s is “Der Pokal” , opus 69, no. 2.
The range extends from E 4 to C-flat 6 and the tessitura remains high for most of the
song. The complex, unpredictable harmonic structure combined with significant leaps in
the vocal line make this song extremely difficult. Many of the phrases are long and the
dynamics are consistently loud throughout. This song will test the student‟s ability to
remain in a high tessitura, as well as test her stamina as she endures the long phrases.
Musical Example 8: R. Strauss, “Der Pokal”, mm. 1-8.49
49 Richard Strauss, Lieder, Complete Edition, vol. 3(London: Fürstner and Boosey &Hawkes, 1964), 14.
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A difficult tessitura is not the only assignment a potential Sophie must be able to
negotiate. The range required is over two octaves. While Strauss took great care not to
use heavy orchestration when it was unnecessary, Sophie must still be able to use all
registers of her voice well. Barbara Petersen notes that, “Strauss expects his singers to
have agility and flexibility as well as the power to penetrate full orchestral sounds on low
notes and to deliver the text clearly at sustained heights.”50 The frequent leaps of an
octave or more can present difficulty as the singer passes from low to high or high to low
through the passaggio. While the tessitura of “Heimkehr ”, opus 15, no. 5, is not extreme,
the octave leaps can be a challenge for the singer and are similar to those contained in the
role. In Musical Example 9, the leap is preceded by a sixteenth note, allowing the singer
to avoid adding too much vocal weight or emphasis on the lowest note as it is short. This
should aid the singer as she passes up through the passaggio.
50 Petersen, 51.
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Musical Example 9: R. Strauss, “Heimkehr ”, mm. 27-43.51
Because Strauss preferred soprano voices, many of his songs require a singer who
is comfortable with a high tessitura and the ability to use all registers of her instrument.
As a result, there are many examples of Lieder in this category to aid the student. “Ihre
Augen” has a high tessitura as does “Huldigung”, both from opus 77. “O süsser Mai”,
opus 32, no. 4, also contains long phrases with a taxing tessitura. According to Jefferson,
“the singer finds herself high up in the treble stave, though seldom above it, and this area
is usually the most searching for the soprano voice. The phrases are long and the vocal
51 Lieder, Complete Edition, vol. 1, 41.
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line is practically continuous.”52 The tempo is Lebhaft, which will help the student to
keep the melody light and moving forward. There are also grace notes in the melody, a
technical issue a potential Sophie will need to master. Grace notes will be addressed
later, but there are more examples that will assist the student with the long phrases and
wide ranges Strauss utilizes.
The tessitura demands continue in the role as the opera unfolds. The presentation
of the rose scene in Act II is one of the most significant moments in the opera. Strauss
reflects its importance through his clarity of writing and orchestration. Sophie accepts
the rose saying, “ Ich bin Euer Liebden sehr verbunden. Ich bin Euer Liebden in aller
Ewigkeit verbunden” (I am to Your Lordship much obliged. I am to Your Lordship for
all eternity obliged).53 Strauss places several rests within these sentences to show
Sophie‟s gratitude and nervousness as she speaks to Octavian. The orchestration
throughout this scene primarily consists of higher-pitched instruments. Furthermore,
Strauss scores these instruments each in the respective upper registers. Strauss also uses
high-pitched percussion, celesta, harp, flute, and piccolo, most likely to illustrate the
metallic nature of the rose. This light orchestration allows Sophie to soar above the staff,
expressing her joy upon receiving the rose. The orchestration also ensures Sophie can
clearly communicate the text to the audience over the orchestra. The orchestration
consists of three solo violins, harp, celesta, three flutes, and three French horns as seen in
Musical Example 10.54
52 Jefferson, The Lieder of Richard Strauss, 74.
53 Castel, 88.
54 Orchestral score, 192-193.
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Musical Example 10: R. Strauss, Der Rosenkavalier, Act II: Presentation of the Rose,“Ich bin Euer Liebden”55
55 Orchestral score, 193.
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Sophie‟s music in this scene begins low in her range, yet the light orchestration
does not cover her sound. The humility and beauty of the moment is expressed in the
melody, text setting, and tonal color. The soaring phrases communicate her joy upon
receiving the rose. The text is meticulously placed in a manner that every word can be
declaimed comprehensibly. The color of the instruments depicts a magical moment in
time for these two young lovers, yet is transparent enough for the audience to experience
the bliss of the occasion as well. Strauss‟ colorful display of harmonies and tone colors is
exquisite as he captures the metallic nature of the rose using high-pitched instruments and
percussion.
The presentation of the rose scene also gives us more insight into the relationship
between Sophie and Octavian. Paul Robinson descr ibes it by stating, “It requires no
room for growth, but seems to exist full-blown at the very instant they came into one
another‟s presence… and Strauss makes no effort to distinguish him, either musically or
dramatically, from Sophie.”56 The tempo slows, followed by a crescendo in F-sharp
major and then a diminuendo as the couple sets their gaze upon one another.
As this scene continues, Sophie‟s phrases stretch from C-sharp 4 to B 5, nearly
two octaves in all. Sophie‟s vocal power is not in her low notes, but in her upper register.
The power can vary depending upon the singer, but Sophie is not required to sing in her
lower register much. The orchestration is fitting for her vocal line as it is light and
skillfully depicts the metallic rose and its significance.57 Sophie reacts strongly to the
silver rose singing, “Wie himmlische, nicht irdische, wie Rosen vom hochheiligen
Paradies” (Like heavenly [roses], not earthly ones, like roses from high heavenly
56 Robinson, 253.
57 Orchestral Score, 190-199.
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paradise).58 As Sophie sings “himmlische”, the vocal line leaps up to a B, followed by a
C-sharp on “ Ewigkeit ” in Musical Example 12, “ Ist Zeit und Ewigkeit ”. Her voice soars
towards the heavens and remains in a high tessitura, as it does for the majority of the
opera. Musical Example 11, “Wie himmlische, nicht irdische”, demonstrates the lyric,
vocal line as well as the tessitura and range required. The orchestra doubles Sophie‟s
melody at this point as well, providing support for the singer as she climbs into her upper
register.
Musical Example 11: R. Strauss, Der Rosenkavalier , Act II, “Wie himmlische, nichtirdische”59
58 Castel, 89.
59 Strauss, Richard. Selections from Der Rosenkavalier: A Master Class with Evelyn Lear. (New York: G. Schirmer, 1989), 76.
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Musical Example 12: R. Strauss, Der Rosenkavalier, Act II, “Ist Zeit und Ewigkeit/Wär‟
ich kein Mann”62
62 Piano-vocal score, 173-174.
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This duet between Sophie and Octavian moves from a three-four meter to a four-
four meter. These sections both contain triplets in the vocal lines. These triplets are
often tied to a previous note, making rhythmic precision a challenge when lining up the
text. At times, one voice sings a triplet against the other voice‟s duplet, but mostly the
voices align harmonically, again reflecting their unity. Although their texts differ at
times, they both speak of eternity and death, concluding on a unison F-sharp.
Throughout the presentation of the r ose scene, Sophie‟s music necessitates
extreme lyricism often within a high tessitura. The result is a lengthy section of difficult
singing requiring stamina to maintain beauty in the vocal sound. Consistent practice in
this area will help build the student‟s endurance. Because of its lyricism, “Als mir dein
Lied Erklang”, opus 68, no. 4 will serve as a prime example for study. It is in the key of
F-sharp major, as is a portion of the presentation of the rose scene. The tempo is Lieblich
bewegt though there are moments of rubato throughout. The triplets in this song are set
against sixteenth notes in the accompaniment requiring the same precision as in the duet.
The range stretches from D-flat 4 to B 5 and the tessitura remains high for the majority of
the song. The 132-measure song is an endurance test, one a potential Sophie should be
able to pass in order to sing the role successfully.63
63 Lieder, Complete Edition, vol. 2, 328-335.
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Musical Example 13: R. Strauss, “Als mir dein Lied Erklang”, mm. 13-2864
“Traum durch die Dämmerung”, opus 29, no. 1, depicts a lover searching for his
love in the twilight. This Lied is lyrical, but is in a low tessitura in comparison to most of
Sophie‟s music. The piano accompaniment contains a “lazy figure which occurs in every
bar for practically the whole of the song, not only to exemplify the romantic nature of the
poem, but at the same time express the settling-down of daytime into dusk and
64 Lieder, Complete Edition, vol. 2, 329.
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stillness.”65 Harmonic tension is created between the ostinato of the accompaniment and
the vocal line, which rises and falls, rarely resolving with the piano. The triplet figure
provides constant motion.66 The triplets are placed in the accompaniment instead of the
voice in this example. The singer must maintain the duplet throughout this song. As the
text shifts from the time of day to his visit to the „fairest woman‟, Strauss modulates from
F-sharp major to B-flat major. These keys are joined through an enharmonic modulation
using D- sharp/E-flat as a pivot point. Eight measures later, there is a return to F-sharp
major tonality through another common tone, D-flat/C-sharp. The song concludes in F-
sharp major, but the tension continues as the vocal line rises through the scale and ends
on C-sharp, the fifth scale degree, hardly a firm resolution.67
The indicated tempo of “Traum durch die Dämmerung” is sehr ruhig , adding to
the harmonic tension. The long lines are in a medium low tessitura in this Lied , but
Sophie‟s long lines with harmonic tension are usually above the staff. Despite the
tessitura, this song will provide the singer with insights regarding Strauss‟ harmonic
language as well as examples of lyricism and cumulative, long phrases. The following
example displays the opening measures and the harmonic tension therein. The triplets
shown in the accompaniment are prevalent throughout the thirty-three measures.
65 Jefferson, The Lieder of Richard Strauss, 86-87.
66 Ibid, 87.
67 Ibid, 87.
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Musical Example 14: R. Strauss, “Traum durch dir Dämmerung”, mm. 1-668
Lyric songs encompass the majority of Strauss‟ output. “The unity and simplicity
of Strauss‟s lyrical songs are more readily identified with that [Schubert, Schumann,
Brahms and perhaps Wolf] tradition than are the complexity and variety of his dramatic
lieder.”69 Perhaps the Lied most similar to the music of Sophie is “Ich schwebe”, opus
68 Lieder, Complete Edition, vol. 1, 147.
69 Petersen, 48.
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48, no. 2. Written in 1900, it appeared well before the opening of Der Rosenkavalier , yet
there are similarities in the meter, melody and the effervescent joy of young love. The
three-four meter gives way to a lilting waltz, and Der Rosenkavalier is often
characterized as a “waltz opera”.70 The final phrase of the Lied begins with an
ascending leap of a major sixth, followed by a descending major third and perfect
fourth.71 Sophie sings these exact intervals a half step higher at the end of her final duet
with Octavian. Both phrases call for the highest note to be sung softly.72 The tessitura is
medium high to help prepare the singer as well. Sophie‟s vibrant personality is fitting for
the mood of this Lied. The song text speaks of one who is so in love they feel as if they
are floating. This feeling is similar to Sophie‟s reaction to her new love with Octavian.
Because of all of the similarities, this is an excellent starting point for a potential Sophie.
70 Ernst Krause, Richard Strauss: The Man and His Work. London: Collet‟s Ltd., 1964,324.
71 40 Songs, 148.
72 Orchestral score, 519.
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Musical Example 15: R. Strauss, “Ich schwebe”, mm. 70-8873
Continuing in the role, Sophie is required to sing grace notes, though they do not
occur as frequently as in Strauss‟ songs. In Act II, Sophie converses with Octavian at
their first meeting. She is a little nervous speaking with him and the conversation is
awkward at times as they are both unsure of what to say to one another. There is some
hesitancy on Sophie‟s part, but the grace notes also show her youth and charm. Musical
73 Lieder, Complete Edition, vol 2., 147.
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Example 16 illustrates the grace notes approaching for a major third or a minor third
below.
Musical Example 16: R. Strauss, Der Rosenkavalier, Act II, “So nennen Ihn halt”74
74 Piano-vocal score, 178.
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Sophie experiences the use of grace notes and Strauss uses grace notes in his
Lieder on several occasions. The songs “Schlechtes Wetter ”, “Ach weh mir
unglückhaftem Mann”, “Herr Lenz”, “Leises Lied”, “Ich schwebe”, “Kling!”, and
“Amor ” all contain grace notes in the melody making them all beneficial for study.
Musical Example 17 is portrays one such case, though study of more than one Lied may
be necessary. In “Schlechtes Wetter ”, opus 69, no. 5, the grace notes are placed at the
beginning of a word or in the middle of a word. All are approached from above with the
exception of one on “blinzelt ”. They are used here primarily to reflect the raindrops and
they all occur on the downbeat of a measure. In measure 77 and 78, the grace notes
appear from above and below the destination pitch.
Musical Example 17: R. Strauss, “Schlechtes Wetter ”, mm. 74-8175
75 Lieder , Complete Edition, vol. 3, 32.
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“All mein Gedanken”, opus 21, no. 1, is a love song, where the singer ‟s thoughts
are with her lover, wherever he is. She sends her love well wishes though she is far
away. The melody is chromatic as if to demonstrate her thoughts winding through the air
on their way to her beloved. The piano depicts the thoughts “knocking” on the lover‟s
window. The accompaniment is light, provides a rhythmic structure, and accentuates the
mood.
Musical Example 18: R. Strauss, “All mein Gedanken”, mm. 1-1276
76 Lieder, Complete Edition, vol. 1, 87.
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Sophie‟s next conversation is much less joyful. Her introduction to the Baron
consists of short, angular phrases in a parlando or speaking style in her middle range.
The note values are short and the phrases are choppy. As shown in Musical Example 19,
Sophie‟s rage culminates in an a capella section, “ Hat nie kein Mann dergleichen Reden
nicht zu mir geführt! Möcht wissen, was ihm dünkt von mir und Ihm? Was ist Er den zu
mir?” (“Never has a man talked to me that way! I‟d like to know what you imagine of
me and of yourself! What are you then to me?”).77
Musical Example 19: R. Strauss, Der Rosenkavalier, Act II, “Hat nie kein Manndergleichen Reden nicht zu mir geführt!”78
77 Castel, 106.
78 Richard Strauss, Der Rosenkavalier, musical score (Mineola, New York: DoverPublications, Inc., 1987), 206.
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The Baron jokingly responds by crudely suggesting Sophie needs him and one
day she will realize her opinion of him is wrong. Sophie physically tears herself away
from the Baron‟s violent grasp. Meanwhile, Octavian can hardly restrain himself from
coming to Sophie‟s defense. This declamatory section continues until the Baron engages
in a duel with Octavian.
Fear is a harsh reality for Sophie. She is afraid of disappointing her father, but
above all fears her potential future with the Baron. In the next scene, Sophie and
Octavian are alone, as the others have left the room to finalize the marriage contract.
Sophie pleads with Octavian, although no pleading is necessary. Octavian convinces her
to speak first of her refusal directly to the Baron. She agrees. In the duet that follows,
the meter shifts between six-eight and nine-eight. The vocal lines do not match
rhythmically and the orchestra does not double the voices nearly as much as in their
previous duet. Octavian‟s vocal line rises above Sophie‟s melody several times
throughout this duet as he tries to calm her fears, but they come together to end on a
unison A. The steady rhythmic sway gives the notion of inner peace, but the
confrontation has yet to occur.
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Musical Example 20: R. Strauss, Der Rosenkavalier, Act II, “Er muß mir Seinen Schutzvergönnen”79
79 Piano-vocal score, 226.
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In Musical Example 20, Octavian sings higher than Sophie does at times. This
observation is important because many sopranos are not used to having a voice part sing
over theirs. Obviously, Lieder study will not help prepare the student in this case, but the
teacher and student should be aware of the potential difficulty in this section of the duet.
In addition to the challenge of singing under Octavian, Sophie‟s lyric, chromatic
music continues and she must have the stamina to perform with vocal, musical, and
interpretive accuracy. In this scene, she descends from above the passaggio, sometimes
chromatically and at other times by leap. The descending leap occurs often in “Ich wollt
ein Sträusslein binden”, opus 68, no. 2. The vocal line contains a chromatic melody with
a reoccurring descending leap of a ninth. The frequently changing harmonies make this
song difficult, but the range only encompasses the interval of a tenth within a medium
tessitura. The tonality alternates between major and minor reflecting her thoughts on her
absent lover, but the singer resigns to the fact that there is no other way but to endure
their time apart and the song ends in a major chord. This Lied also contains a brief
example of recitative as the flower begs her not to be picked.80 The phrases are
consistently long throughout with only a few short rests to allow for a quick breath before
the next phrase resumes. The tempo is andante con moto, a tempo dictated primarily by
the speed of the eighth-note triplet. In “Ich wollt ein Sträusslein binden”, Musical
Example 21, we see the alternation of major and minor triplets as well as the descending
leap of a ninth. The student will need to be secure in her execution of triplets as well as
negotiate wide leaps.
80 40 Songs, 154-158.
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Musical Example 21: R. Strauss, “Ich wollt ein Sträusslein binden”, mm. 1-1581
Act II concludes with Octavian setting a plan into motion to expose the Baron‟s
true self. Octavian plans to disguise himself as a woman, specifically Mariandel (a
disguise he used with the Baron in Act I), to meet up with the Baron for a tête-à-tête, and
to have Sophie, her father and the Marschallin all appear to witness his downfall. He
81Richard Strauss, Lieder, Complete Edition, vol. 2 (London: Fürstner and Boosey &Hawkes, 1964), 314.
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enlists two characters, Annina and Valzacchi, to help him complete his plan. They agree
and Act II begins with Mariandel (Octavian) putting his plan into motion.
Act III: Sophie‟s Requirements
Librettist, Hugo Hofmannsthal divided the third act into three sections. He said it
was “a little spicy to begin with, then broadly comic, only to end on a note of
tenderness.”82 His description is accurate, though Sophie is not a major figure until the
comic section. She arrives with her father just in time to see the baron publicly ridiculed.
This is also the first time Sophie meets the Marschallin, the woman with whom Octavian
has a relationship. The awkwardness subsides and gives way to a stunning trio, one of
the musical highlights of the entire opera.
Sophie‟s conversation with the Marschallin in Act III closely resembles recitative.
Other recitative moments in the opera are in a parlando style. Sophie and the
Marschallin meet after the chaos has subsided in Act III. Sophie‟s vocal line changes
dramatically at this point. The melody is low in her range; the rhythm is mostly sixteenth
notes. Strauss marks her line sehr schnell .83 Her nerves are clearly affecting her at this
moment as she speaks quickly. The Marschallin‟s first question was enough to make
Sophie ill at ease. “So schnell hat Sie ihn gar so lieb?” (So quickly have you come to
love him?)84 Sophie tries to avoid the uncomfortable conversation, but the Marschallin
will not allow her to evade her questions. Sophie‟s music does not change as the
awkward conversation continues. A portion of her Act III conversation with the
Marschallin follows in Musical Example 22.
82 Mann, 131.
83 Piano-vocal, 424.
84 Castel, 187.
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Musical Example 22: R. Strauss, Der Rosenkavalier, Act III, “Ich weiß nicht, was Euer
Gnaden meinen mit der Frag‟.”85
85 Piano-vocal score, 424.
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As seen in the previous example, not all of Sophie‟s music is lyrical. There are
moments of declamatory singing as well. Petersen describes the declamatory style as
approaching recitative, “with speech-like settings emphasizing the natural inflections of
the word.”86 “Morgen!” , opus 27, no. 4, contains an example of such writing. The vocal
line is independent of the piano accompaniment, which consists primarily of arpeggiated
chords until the final measures of text. The forward motion of the piano accompaniment
ceases and pianissimo chords are the foundation of the recitative-like portion of the song,
“Stumm werden wir uns in die Augen schauen, und auf uns sinkt des Glückes stummes
Schweigen...” (“silently, we shall look into each other‟s eyes, and the mute stillness of
happiness will descend upon us…”).87 It is as if time stands still for the two lovers and
the music is well suited for the moment, as static chords in the accompaniment have
replaced the momentum from the arpeggiated accompaniment earlier in the song. In
addition, the melody spans only a few notes with only one leap on the word “Glückes” or
happiness (Musical Example 23). The melody ends as it began, stealing in and out of the
piano texture, in the middle of a sentence. Elisabeth Schumann, who portrayed Sophie,
states, “Strauss wanted every word intelligible to the audience.” 88 “Morgen!” allows the
text to be clearly declaimed over the piano accompaniment and through the melody.
Carol Kimball describes “Morgen!” as “motionless ecstasy.”89 “Vocal phrases seem
longer than they are due to varying rhythmic stress and phrasing over the bar lines.”90
86 Petersen, 45.
87 Castel, 40.
88 Petersen, 168.
89 Carol Kimball, Song: A Guide to Art Song Style and Literature, 134.
90 Kimball, 135.
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The recitative section in “Morgen!” is much calmer than Sophie‟s conversation with the
Marschallin in the opera.
Musical Example 23: R. Strauss, “Morgen!”, mm. 30-4391
The study of this section of “Morgen!” will assist with the student‟s understanding of
German word stress while maintaining a legato line.
The precision of the text setting in “Morgen!” is also in “ Nachtgang”, opus 29,
no. 3. In Musical Example 24, Strauss takes great care with setting each word, allowing
plenty of time for consonants, while simultaneously providing the specificity necessary
for the dramatic intent of the text. “ Nachtgang” describes an intimate moment between
91 Lieder, Complete Edition, vol.1, 144.
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lovers as they are walking at night. The tempo marking of Mäßig langsam and a
pianissimo dynamic marking suggest it is a casual, calm evening. However, the passion
between the couple suggests this walk is merely an excuse to find some privacy. The
couple is kissing and the singer begins to weep, yet it is out of gladness as the song ends
in a major key as it began. Beginning in measure 15, the text states “Und du erscheinst
mir wie eine Heilige, mild, mild und gross und seelenübervoll, heilig, und rein wie die
liebe Sonne” (And you appeared to me like a saint, gentle, gentle and great and soul-
over-full, holy and pure, as the dear sun.)92 Grammatically, there would be no need to
pause between words, but dramatically, the singer searches for just the right words to
explain to her beloved how she feels. Strauss used text repetition on “mild” to signify the
lover searching for the precise word to say and the moment in which to say it. In
measures 27-28, Strauss sets the word “schwoll” on the second half of beat three, tying it
over the bar line to the first eighth note in an eighth note triplet. The tie is to allow time
for the singer to sing the consonant cluster without a sense of feeling rushed. Strauss
frequently uses ties over the bar line to allow for clarity as seen in Musical Example 24.
92 Castel Strauss Lieder , 44.
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Musical Example 24: R. Strauss, “ Nachtgang”, mm. 13-2893
Returning to Act III, we see Sophie‟s confidence seems to have waned under the
pressure of meeting royalty, not to mention the royal woman‟s ties to Octavian. The
93 Richard Strauss, Lieder, Complete Edition, vol. 1 (London: Fürstner and Boosey &Hawkes, 1964), 155.
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Marschallin does not attempt to put her at ease. Sophie must fear the unknown, as she
has no details about the previous relationship between Octavian and the Marschallin and
little relationship experience herself. In the end, fittingly, the Marschallin encourages
Octavian to take the first step towards Sophie. Sophie, still embarrassed, continues to
thank the Marschallin for her help in getting rid of Ochs, but Sophie does not realize the
Marschallin wants to keep this uncomfortable situation moving forward.
All three characters are at a turning point. A stunning trio follows as they each
search their thoughts. The trio is in the key of D-flat major and in a three-four meter.
The Marschallin begins in her upper register, but Sophie soon resumes her role of soaring
above the staff and the other voices. Each line is independent of the other reflecting their
current psychological state. They each inwardly reflect upon their feelings and plan how
to respond in light of their new discoveries.
Sophie‟s music differs from her previous conversation with the Marschallin. Her
confidence seems to have returned and she has long, lyric phrases in a high tessitura as in
Act II. The flutes and violins double her melody one octave higher. Each character takes
his turn at singing the highest vocal line as they each realize the truth of the situation.
The Marschallin resolves the final 9-8 suspension (seen in Musical Example 31) as she
resignedly admits her youth is past and it is unfair to prevent Sophie and Octavian from
sharing in young love.
Three examples from the trio are presented here. The demands associated with
Sophie‟s ensemble singing are similar to those required for her solo passages. When in
ensembles, she sings the highest notes most of the time. The trio is unique in that there
are three female voices in the soprano range. While this could be a challenge with all
singers close in range, Strauss chooses to embrace the opportunity and allows the voices
to move freely above and below each other, creating a seamless texture. Strauss
celebrates his love for the soprano voice in the final trio. All three women sing in their
upper registers, though Sophie‟s line is usually the highest of the three. Musical Example
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25 is from the Act III final trio where Sophie soars above the other voices, but the
Marschallin and Octavian quickly rise to take her place in the last three measures of this
example.
Musical Example 25: R. Strauss, Der Rosenkavalier , Act III, “Ich möcht michniederknien dort.”94
94 Piano-vocal score, 430.
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This is another instance in the role of Sophie where Strauss incorporates grace
notes. The music here is considerably more lyrical than in the previous example with
grace notes from Act II. The lyricism required throughout this trio is a significant part of
its beauty and difficulty. The long phrases overlap one another creating and resolving
harmonic tension. “Die Nacht”, opus 10, no. 3, is typical of Strauss with its long phrases
and lyricism. The indicated tempo is andantino. The meter is three-four and the
accompaniment consists of moving eighth notes in the right hand. The key is D major,
but moments of D minor and B-flat major are also present. The singer is afraid of the
night because it is taking everything away from her, including the light, color, and beauty
of day. The singer fears her beloved is the next to be taken as the couple walks through
the woods at night. However, as the song ends, it returns to D major, suggesting that the
lover remains and night has not triumphed after all.95
Although the tessitura of “Die Nacht” is not high, the melodic lines ascend from a
medium range, making it easier for a singer to transition into the passaggio. There are
moments in which the phrase feels as if it will end, yet the phrases stretches for a few
more beats. This suspenseful sensation is felt in the final phrase, “o die Nacht, mir bangt,
sie stehle dich mir auch” (Oh, the night, I fear, may steal you from me, too).96 The
pianissimo high G on “ stehle” makes the phrase difficult enough, but it continues through
“dich.” The [ʃh] of “ stehle” adds another layer to the intimacy and difficulty of the
moment. Musical Example 26 represents this difficult phrase. The song closes with a
postlude alternating between D major and B-flat major, but comes to rest in D major.
95 Jefferson, The Lieder of Richard Strauss, 98-100.
96 Castel, Strauss Lieder, 3.
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Musical Example 26: R. Strauss, “Die Nacht” , mm. 33-4597
Another lyric song containing long phrases is “Wiegenlied”, opus, 41, no. 1. It is
marked Sanft bewegt , and the song flows quickly in a two-two meter and occasionally a
three-two meter as the text warrants. The third verse brings even longer phrases as the
harmonic tension grows. The dynamic remains soft throughout as it is a lullaby. Strauss
orchestrated this in 1900.98 The tessitura is not high, but the long phrases will be the
most challenging aspect in this Lied as displayed in Musical Example 27.
97 Lieder, Complete Edition, vol. 1, 8.
98 40 Songs, 133-144.
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phrase of great length (from „umschauert vom Sturm’ to „kampfmüde Seele‟,) needing
very exceptional breath control, some resourcefulness so as to know where to breathe,
and a good deal of thought behind it all.”100 Jefferson warns that the indicated tempo,
sehr lebhaft und drängend , is only for an expert singer and pianist.101 There are frequent
leaps above the staff. The sustained high tessitura is a great educational opportunity for a
future Sophie. The quick harmonic shifts occur in the middle of the piece. The return to
the tonic key of E major is announced in the accompaniment and the triad is outlined in
the melody with the singer climbing to the high B on “lebtest ”, concluding the song as
seen in the following example.102
100 Jefferson, The Lieder of Richard Strauss, 61.
101 Ibid.
102 Ibid.
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Musical Example 28: R. Strauss, “Cäcilie”, mm. 38-52103
“Zueignung”, op. 10, no. 1, contains a phrase similar to many of Sophie‟s phrases
in that the singer is required to utilize a wide range within a single phrase. The range of
the entire song stretches from E4 up to A5. The same range is required in a single phrase.
103 Lieder, Complete Edition, vol. 1, 136.
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The extended leap occurs in one phrase towards the end of the song and thus trains
stamina, one of the most demanding aspects of the role. This difficult phrase is
illustrated in Musical Example 29.104
Musical Example 29: R. Strauss, “Zueignung”, mm. 23-30.105
Strauss composed many lyrical songs that would be beneficial to a student
preparing for the role of Sophie. The Lieder discussed above are primary examples that
can be used. If the student needs additional work in this area, “Breit über mein Haupt”,
104 40 Songs, 4-6.
105 Lieder, Complete Edition, vol. 1, 4.
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opus 19, no. 2, contains several long phrases.106 “Frühlingsgedränge” , opus 26, no. 1,
has a medium high tessitura with consistently long phrases, providing little time to rest
and recover.107
The second example from the final trio in Act III displays the elegance of Strauss‟
harmonic genius. Sophie and Octavian share this moment together as the Marschallin is
contemplating her future. While Sophie‟s texts differ from Octavian‟s, their melodic
lines are intertwined as they both look toward their future together.
Musical Example 30: R. Strauss, Der Rosenkavalier, Act III, “den ich spür/und g‟rad‟ andie”108
106 40 Songs, 36-37.
107 40 Songs, 64-68.
108 Piano-vocal score, 431.
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The lyricism throughout this trio is present in this exquisite trio. It is as if time
stands still as all three characters sort out their thoughts. All have matured and their
vocal lines reflect their newfound wisdom. In the Musical Example 31, Sophie and
Octavian sing the same text while the Marschallin sings another. This is another textual
indication to affirm the relationship between Sophie and Octavian while simultaneously
confirming the separation between Octavian and the Marschallin. Strauss allows the
Marschallin to sing last, resolving the suspension and as she succumbs to reality over her
former relationship with Octavian.
Musical Example 31: R. Strauss, Der Rosenkavalier, Act III “dich hab‟ ich lieb”109
109 Piano-vocal score, 433-434
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As the final trio concludes, the Marschallin exits leaving Sophie and Octavian
alone. As she departs, the tonality shifts from D-flat major to G major, which Mann
likens to “a burst of sunlight.”110 They sing a duet, “ Ist ein Traum/Spür’ nur dich.” This
duet is unlike their previous ones in that their rhythms are synchronized. This alignment
shows their unity as they sing in thirds with violins doubling. Despite the unity of this
duet, their texts differ as Sophie feels she is in a dream and Octavian tries to convince her
she is his only love. The raw emotion shared here is comparable to the final duet
between Sophie and Octavian. Sophie sings, “ Ist ein Traum, kann nicht wirklich sein,
dass wir zwei beieinander sein, beieinand für alle Zeit und Ewigkeit.” (It‟s a dream, [it]
cannot true be, that we two together are, together for all time and eternity.)111
Meanwhile, Octavian is singing, “Spür nur dich, spür’ nur dich allein und dass wir
beieinander sein!” (I feel only you, I feel only you alone and that we together are!)112
Although their love is new, they have overcome several obstacles to be together and their
love is strong. Just as Sophie falls into Octavian‟s arms for “support” at the end of the
duet, Faninal and the Marschallin both see the youthful couple and agree that “Sind halt
aso, die jungen Leut!” (That‟s how they are, these young people!).113 The young couple
bows to the older pair as they exit as if to acknowledge their assistance and guidance in
this delicate, yet difficult situation. All is forgiven and the couple resumes their duet.
The young couple again sings of eternity and this time, they sing confidently of their
unending love and devotion. The first presentation of the duet is below.
110 Mann, 141.
111 Castel, 192.
112 Ibid.
113 Castel, 193.
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where the lovers first met. The second presentation of the duet appears in Musical
Example 33.
Musical Example 33: R. Strauss, Der Rosenkavalier, Act III, “Ist ein Traum/Spür‟ nurdich”115
115 Orchestral Score, 517.
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The final Act III duet contains a similar accompanimental figure as well as a
complementary melody to “Du meines Herzens Krönelein”, opus 21, no. 2. In fact, the
melody is so similar to the final duet, Alfred Orel tells a story of how Strauss once used
the duet to transition between songs on a recital. Orel used to turn pages for Strauss
during these recitals. According to Orel, a former Professor of Music from Vienna
University, Strauss began to improvise during the applause (which Pauline, Strauss‟ wife,
insisted upon as soon as she was finished singing, rather than when the piano postlude
concluded). Alan Jefferson cites, “This very Schubertian figure which at once came into
Strauss‟ mind is from the final duet for Sophie and Octavian in Der Rosenkavalier. Of
course, both this song and that duet have a Schubert-like accompaniment, yet it is easy to
see how Strauss‟ mind can have propelled him from one into the direction of the
other.”116 The song and the duet are so similar; it is easy to understand why he would
have drifted from one to the other. Strauss composed in a similar style throughout his
vocal genres, making them ideal partners for study and performance. This instance is yet
another example of their similarity. The tessitura is medium, the tempo is andante, and
the melody contains several octave leaps. The opening measures of “Du meines Herzens
Krönelein” appear as a comparison to the duet in Musical Example 34.
116 Jefferson, The Lieder of Richard Strauss, 32.
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Musical Example 34: R. Strauss, “Du meines Herzens Krönelein”, mm. 1-8.117
While Strauss harmonies are consistently shifting, it is important to note each Lied is
unique as each harmonic progression displays a new variance of style. The student will
attune her musical ear to Strauss‟s musical style through repetition and through the study
of all of Strauss‟ Lieder.
Through the previous examples from Der Rosenkavalier , the author has shown
the level of musical difficulty for Sophie is evident throughout. Sophie becomes more
independent and confident as the story progresses and her music reflects those features.
Just as Sophie develops, the student will also mature throughout this process. She will
require guidance with each new skill. One skill may prove more challenging than
another involving more study in a particular area of need. Just as every student will bring
117 Lieder, Complete Edition, vol. 1, 89.
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her own issues to the process, the teacher must be able to assess which areas to address
with the student.
This entire process takes a considerable amount of time. Each singer will need
years of study to develop physically and emotionally, a progression no one can predict or
accelerate. The musical, dramatic, and vocal maturity demanded of Sophie makes
obvious the need for musical and dramatic preparation from sources other than the role
itself. Incorporating Strauss Lieder is only one component of the process, but the Lieder
study and performance will advance the development of all of these aspects. The musical
and vocal gratification a performance of this role can bring will surpass the trials and
difficulties required during this portion of musical study of Der Rosenkavalier and the
role of Sophie Faninal.
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CHAPTER III
DRAMATIC CONSIDERATIONS
The analysis and portrayal of characters in art song and opera are similar. They
both contain text, offering insight into the character who is singing. In opera, librettists
create opera characters with relationships, flaws, and other general characteristics, all of
which may be stated before the character sings a single note. Art song, textually based
upon a poem, is more concise than an opera aria. Often, little background, if any, appears
in the text. Therefore, the singer must create the background for the character based upon
the given information. Despite these inherent differences, the process of creating a
character is similar for both genres.
Through careful study of the text and music, one can find clues to the char acter‟s
identity. Mezzo-soprano Frederica von Stade feels that “most of the definition of
character is through the music… A great deal is dictated by the music and the composer‟s
view of the character.”118 Michael Chekov, acting instructor and director, offers another
suggestion for discovering clues when creating a character. He proposes that as a singer
reads the libretto for the first time, he should be aware of his own reactions to the
situations of his character. More specifically he states, “listen to the words, to the voices,
see the feelings of the characters and inwardly follow their desires.”119 Soprano
Elizabeth Futral reads the libretto and the original source upon which it is based. She
then tracks the character‟s progress from the beginning of the story to the end.120 While
each has his own method, the outcome is a well-researched view of the character.
118 Clark, 25.
119 Clark, 24-25.
120 Clark, 26.
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Once character traits are determined, the student begins the process of
determining how to portray these qualities. Learning to embody these characteristics
takes time, rehearsal, and patience, but the result is rewarding for both the performer and
audience. Maria Callas once said, “The art of music is so enormous that it can envelop
you and keep you in a state of almost perpetual anxiety and torture. However, it is not all
in vain. It is an honor and great happiness to serve music with humility and love.”121
Having respect for the composer and librettist helps to make the entire approach clearer.
The student must learn to value the desires of the composer and librettist, as well as
practice interpreting their concepts.
In Acting for Singers, David Ostwald emphasizes the need for character
objectives. “Objectives and acting beats generate specific things for you to do scene by
scene and moment-by-moment. They help you to react believably by clarifying your
character‟s feelings about the situation and the other characters.”122 The student must
ask the following questions: what does my character want or need, why does he
want/need it, why does he need it right now, what or whom is preventing him from
reaching his objective and any other questions to help him be as specific as possible.123
Not all characters will have obvious answers to these questions in the music or
libretto. Often, the singer must make decisions based upon what she knows and create
the rest. The teacher instructs her to enjoy this freedom and flexibility in creating her
own interpretation. She needs to realize her choices must be made based on “a thorough
understanding of the piece – including the period, the composer‟s style, the dramatic
121 Galatopoulos, Stelios. Maria Callas: Sacred Monster (New York, New York: Simonand Schuster, 1998), 165.
122 David F. Ostwald. Acting for Singers (New York, New York: Oxford UniversityPress, 2005), 111.
123 Ostwald, 112-114.
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theme, the music, the text, the characters and the way these components reinforce each
other.”124 Informed choices will bring strength and clarity to the role, not only for the
singer, but the audience as well.
All of these concepts are less ambiguous in the operatic genre, but can still be
applied to the art song genre. Characterization in art song requires more creativity at the
outset of the analysis, but once the singer makes decisions, the interpretive concepts are
the same in art song as in an operatic role.
Art Song
Art song is a general term that encompasses but is not limited to Lieder , mélodie ,
and canzone. It can be a piece composed as a single art song or a part of a song cycle.
The characters portrayed in art songs are often nameless and little background
information exists regarding the setting, their relationships, or their personality. Because
of the lack of details, the singer must formulate any missing information to help make her
interpretation complete. Creating a character with only a few given boundaries is more
difficult than it appears. The singer must invent the rest of the character using her
imagination. The music and text are great insights into the character and the singer must
carefully examine both.
The culmination of art song study is a recital. The art song recital is a challenge
to students. Each song has its own dramatic criteria and therefore demands a clear
understanding of the characterization. There are no other characters onstage with which
to interact, and very few moments to relax offstage between sets. However, art song
recitals are a beneficial experience for the student as she will draw on a great variety of
characters and emotions to portray in a short amount of time.
124 Ostwald, 75.
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Aria and Character Study
Aria study will bring new musical and dramatic challenges. There is a significant
increase in the amount of music and text. The character depicted in the aria will have
established relationships and obstacles to overcome. Instead of needing to fabricate the
detailed information of a character as in an art song, the clues and information are in
background sources, the libretto, and the score for the singer to examine. Often, physical
and personality traits will be predetermined as well. After the character analysis is
complete, the student can begin to determine the best way to bring them to life upon the
stage.
Uta Hagen, actor and teacher, discusses the role of substitution and its benefits
when forming a character. She advocates a student should transfer what she already
knows about herself into her character using “substitutions from [her ] own experiences
and remembrances.”125 Hagen teaches, “The expression „to lose yourself‟ in the part or
in the performance…has always confused me. I find it much more stimulating to say that
I want „to find myself‟ in the part.”126 The teacher can guide the student in this process,
but ultimately the student is the one who must use experiences from her life, many of
which the teacher may not be aware. The student must work independently to bring her
character to life. The teacher can observe what is effective and what is not in a particular
scene, but the student must find the substitutions within herself and her experiences.127
After accurately analyzing the physical behaviors and the personality of her
character, the student should delve into examining scenes and full-scale productions. As
125 Uta Hagen, Respect for Acting . (New York: Macmillan Publishing Co., Inc., 1973),34.
126 Hagen, 34.
127 Hagen, 36-37.
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previously noted, the music plays a role in characterization. The score is also a tool for
memorization and scene analysis. Once the student knows what to look for in her music,
she will have the opportunity to delve deeper into the details of characterization and
scene analysis. As art song works as a musical preparatory tool, the emotions Sophie
Faninal experiences can also be found and explored through art song study.
Sophie‟s Emotions
Sophie begins Act II as a naïve girl, who is in love with the idea of love with little
to no experience in the area. Her excitement builds as she meets Octavian and feelings of
love surface. Although the emotions are new, she has no idea how to act upon her
feelings. Once she meets Baron Ochs, more of her personality emerges and her fury
breaks the surface. Her instincts to survive the situation overpower her feelings of duty
to family. Her fear causes her to act. Suddenly, plans change for Sophie as she takes
control of her own future, pursuing her own wants and desires, in spite of her father‟s
arrangement. Throughout the opera, Sophie experiences an array of emotions including
joy, young love, passion, and fear. Her personality is out-going and vibrant, yet she
never loses her sense of self while fighting for her freedom and independence.
Joy and Young Love
One of the emotions Sophie embodies is joy. Her innocence, youthfulness, joy,
and excitement appear in all she sings.
All of these factors portray her as an excited young girl with a lotof energy, who is filled with tremendous anticipation. Her
attempts to calm herself are reflected through phrases, whichexploit the middle range of her voice and are set in a narrow vocalrange; these attempts are futile, however, since these short-lived
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Figure 2: Text and translation from Act II, “Wo war ich schon einmal und war soselig?”130
Sophie and Octavian:
Sophie: Dahin muss ich zurück! Und must ich völlig sterben auf dem Weg. Allein, ich sterb’ janicht. Das ist ja weit. Ist Zeit und Ewigkeitin einem sel’gen Augenblick, den will ichnie vergessen bis an meinen Tod.
I must return there, even if I should indeeddie on the way! But I shall not die.That is far off. There‟s time and eternityin this blissful moment, I will never forgetit until my death.
Octavian: Ich war ein Bub, da hab’ ich die noch nicht
gekannt. Wer bin den ich? Wie komm’denn ich zu ihr? Wie kommt denn sie zumir? Wär’ ich kein Mann, die Sinnemöchten mir ver’geh’n. Das ist ein sel’ger Augenblick, den will ich nie vergessen bisan meinen Tod.
I was a boy, I did not know her yet.
Who am then I? How is it that Icome to her? How is it that she comes tome? If I were not a man, Iwould faint. This is a blissfulmoment, I will not forget it untilmy death.
Love is only one of the many feelings Sophie experiences, but it brings about
significant change. The romantic love between Sophie and Octavian grows throughout
Act II as Sophie‟s need for Octavian‟s help only draws them closer throughout the opera.
The realities of love eventually replace Sophie‟s ideals of love. She finds happiness and
contentment through Octavian‟s acts of love as well as through the blessing from her
father and the Marschallin.
Fear
Fear is a powerful emotion. In Sophie‟s case, her marriage to the baron would be
most unfortunate and the fear of spending her life with this man is a scary thought. Her
dreams for a happy marriage to a wonderful man are gone and replaced with a strong
130 Castel, Libretto, 89-90.
Wo war ich schon einmal und war so selig?
Where was I once before and was so blissful?
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sense of fear for her future. She is not yet strong enough to stand up for herself. She is
also afraid to stand up to her father and defy his wishes. She realizes this arrangement
will affect him as well. In “Die Nacht”, the text speaks of the singer‟s fear of darkness.
Though the darkness is temporary, the loss of a love can be permanent.
Figure 3: Text and Translation of “Die Nacht”131
Aus dem Walde tritt die Nacht,aus den Bäumen schleicht sie leise, schaut sich um in weitem Kreisenun gibt acht.
Alle Lichter dieser Welt,alle Blumem, alle Farbenlöscht sie aus und stiehlt die Garbenweg vom Feld.
Alles nimmt sie, was nur hold,nimmt das Silber weg des Stroms,nimmt von Kupferdach des Domsweg das Gold.
Ausgeplündert steht der Strauch;
Rücke näher, Seel’ an Seele;o die Nacht, mit bangt, sie stehledich mir auch.
Out of the forest steps the night,Out of the trees it creeps softly,Looks all around in a wide circle Now be alert.
All the lights of this world,all the flowers, all the colorsit extinguishes and steals the sheavesaway from the field.
It takes everything that is completely fair,takes the silver away from the stream,takes the gold away from the copper roofof the cathedral.
Completely bare stands the bush,
move nearer, soul to soul;O the night, I fear, it will stealyou from me also.
For Sophie, when combined with love, the fear causes her to act, asserting her
independence. In Act III, Sophie uses her newfound independence and maturity to
achieve her objectives: to expose the Baron for the vulgar man he is, to convince her
father of this fact and to receive the blessing of her father and the Marschallin to live
happily ever after with her true love, Octavian. As Act III progresses, Sophie boldly
confronts the baron, with her father‟s consent, banishing him from their lives and
131 Castel, Strauss Lieder , 3.
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Figure 4: Text and translation of “Heimliche Aufforderung”.134
Auf, hebe die funkelnde Schale empor zum Mund, Und trinke beim Freudenmahle dein Herz gesund. Und wenn du sie hebst, so
winke mir heimlich zu, Dann lächle ich unddann trinke ich still wie du...
Und still gleich mir betrachte um uns das Heer Der trunknen Schwätzer -- verachte sie nicht zu sehr. Nein, hebe die blinkendeSchale, gefüllt mit Wein, und laß beimlärmenden Mahle sie glücklich sein.
Doch hast du das Mahl genossen, den Durst gestillt, dann verlasse der lautenGenossen festfreudiges Bild, und wandlehinaus in den Garten zum Rosenstrauch,dort will ich dich dann erwarten nachaltem Brauch,
Und will an die Brust dir sinken, eh’ du's gehofft, und deine Küsse trinken, wieehmals oft, und flechten in deine Haare der Rose Pracht. O komm, du wunderbare,ersehnte Nacht!
Arise, lift the sparkling vessel to yourmouth, and drink at the feast your heart‟scontent. And when you raise it, then signal
secretly to me, then I will smile anddrink quietly as you do…
And quietly like me observe around us thecrowd of drunken babblers – do notdisdain them. No, raise the glitteringgoblet, filled with wine, and let them behappy at the raucous meal.
But once you enjoyed the meal, your thirstquenched, then leave the loud company‟scheerful festival and wander out into thegarden to the rosebush,there I will wait for you, as people havedone for ages,
And will passionately embrace you, even before you imagine it, and drink yourkisses, as I have often done, and weaveinto your hair the rose‟s splendor. Ohcome, you wonderful desired night!
In addition to the dramatic benefits, this Lied has some rhythmic challenges
between the voice and the piano. There are long, soaring phrases in this song, especially
at the end as they become longer and higher. The tessitura is medium high with plenty of
support from the piano to aid the singer. Study and performance of this Lied will build
stamina and confidence in the student as she works toward her goals.
134 Castel, Strauss Lieder , 38-39.
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Musical Example 35: R. Strauss, “Heimliche Aufforderung”, mm. 30-42135
Another passionate, dramatic Lied is “Ständchen”, opus 17, no. 2, one of Strauss‟
most popular songs, although admittedly not one of his best. “Although he [Strauss]
continued to perform it and never went so far as to withdraw it from his oeuvre, Strauss
regretted its poor text accentuation, all the more so as its popularity proved
indestructible.”136 Despite this shortcoming, the song does contain a romantic tale of
two lovers meeting in secret. The three verses lend themselves to a strophic setting;
however, Strauss modifies the third verse of the music to fit the text. The first two verses
contain the text of a lover sneaking out of the house to meet the other. The lovers are
135 Lieder, Complete Edition, vol. 1, 139.
136 Petersen, 167.
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together for the final verse. The mood of the music changes to reflect the passion and
ecstasy of their secret meeting.
Figure 5: Text and translation of “Ständchen”137
Mach auf, mach auf, doch leise mein Kind,
Um keinen vom Schlummer zu wecken. Kaum murmelt der Bach, kaum zittert im
Wind Ein Blatt an den Büschen und
Hecken. Drum leise, mein Mädchen, daß
nichts sich regt, Nur leise die Hand auf die
Klinke gelegt.
Mit Tritten, wie Tritte der Elfen so sacht,Um über die Blumen zu hüpfen,
Flieg leicht hinaus in die Mondscheinnacht,
Zu mir in den Garten zu schlüpfen. Rings
schlummern die Blüten am rieselnden BachUnd duften im Schlaf, nur die Liebe ist
wach.
Sitz nieder, hier dämmert's geheimnisvoll
Unter den Lindenbäumen,
Die Nachtigall uns zu Häupten sollVon unseren Küssen träumen,Und die Rose, wenn sie am Morgen
erwacht, Hoch glühn von den
Wonnenschauern der Nacht.
Open up, open up, but softly, my child,
So no one wakes from sleep, the brook, barely murmurs, hardly a leaf on the
bushes and hedges trembles in the wind.
Therefore, softly my girl, so that nothing
moves, just lay your hand softly on thelatch.
With steps, as soft as elves step, when they play among the flowers,
Fly lightly out into the moonlight night to
slip into the garden to me. All around, the
blossoms slumber by the trickling brookand are fragrant in their sleep, only love is
awake.
Sit down, here where it darkens secretively
under the linden trees,
the nightingale above our heads shalldream of our kisses,And the rose, when it wakes in the
morning, will blush, from the
ecstasies of the night.
Elisabeth Schumann felt that “Ständchen” served as a “bridge for the general public”
when it came to understanding Strauss and it is the author‟s belief that this song will
establish his style to the student performer as well.138
137Castel, Strauss Lieder, 14-15.
138 Petersen, 167.
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Musical and Dramatic Examples
Many of the musical examples chosen to represent the vocal characteristics of the
role of Sophie also serve as dramatic examples as well. Ideally, when the student studies
the musical examples listed in chapter two, the dramatic features of each Lied will be
addressed simultaneously. The student must examine the text and the music within the
context of one another. The musical setting of the text contributes to the meaning and
holds significant evidence for the singer. The music verifies the qualities of a character,
not the text alone.
Dramatic interpretive study is a beneficial exercise for the student, but the
execution as a result of the study is the ultimate goal. Observation as well as practical
experience in this area will prove beneficial. Watching live operatic performances will
allow the student to see, hear, and experience opera in ways that recordings cannot
provide. Observation during classes, such as voice seminar and opera workshop, will
provide the student with guidance and ideas with which to experiment. Participation in
the same classes will give the student a venue in which to put these observed skills into
practice. This process takes years to develop, but diligent study combined with
observation and participation will guide the student towards the goal of becoming a
complete singer-actor.
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CONCLUSION
The role of a voice teacher is multi-faceted requiring knowledge of vocal
technique, musical and dramatic analysis, and acting skills. While working on vocal
technique, the teacher can incorporate acting skills through the study of art song.
Introducing students to the realm of opera is a challenge and can be overwhelming. The
Lieder of Richard Strauss serves as an excellent teaching tool for his operatic roles.
In the case of the role of Sophie from Der Rosenkavalier , advanced study of
Strauss‟ song literature provides an excellent model for the student. Strauss is difficult to
sing and the student cannot be over-prepared. The demanding tessitura is the one of the
most difficult aspects of the role of Sophie. While Sophie only sings in Acts II and III,
she will need to develop the stamina to maintain long phrases in her upper register for
long periods. Sophie‟s ensemble singing is equally challenging with an unrelenting
tessitura and difficult leaps and rhythms. In addition, the steady use of chromaticism
requires a student with an excellent ear and an understanding of the harmonic
progressions. Other technical demands include the precise execution of grace notes as
well as an ability to sing high notes at a soft dynamic. The vocal challenges are
numerous, but a potential Sophie must study all technical aspects in preparation for the
role.
In addition to the vocal and technical aspects of the music, the character of Sophie
is also complex. She experiences a variety of emotions. Her joy and youth are present
from her entrance in Act II. Her energetic personality is on display for Octavian, who
immediately falls for her charm. Sophie‟s feelings for Octavian are not part of her
original plan. However, once she meets the baron, her plans immediately change. Fear
replaces her youthful joy from earlier in Act II. This intense fear causes her to mature
and assert her independence for the first time in her young life. Once she realizes she is
in charge of her future, her circumstances change quickly. Her love for Octavian grows
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and she begins to dream of a future with him. Her newfound independence allows her to
make decisions that will benefit her. In the end, her happiness returns as a result.
Tracing Sophie‟s character from the beginning to the end will greatly benefit the student
as she plans to interpret this role.
Studying Strauss Lieder will significantly enhance the preparation of a potential
Sophie. The process will work differently with each student, as one may require more
work in one area than in another area. It requires a tremendous amount of time on behalf
of the student and teacher. The student must be willing to devote years of study to earn
the opportunity to perform such a role as Sophie. The teacher will guide the student
through years of study in preparation. Each lesson, rehearsal, and performance is a time
of discovery. Each performance, whether in a voice seminar, master class, recital, or
opera, is a learning experience. Value is inherent in each effort regardless of the size of
the audience. The process is ongoing and if the student is truly dedicated, it never ends.
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Bybee, Ariel and James E. Ford. The Modern Singing Master. Lanham,
Maryland: Scarecrow Press, Inc, 2002.
Ariel Bybee performed at the Met for eighteen seasons. She taught voice and
directed operas as an associate professor and Artist-in-Residence in the Opera Program at
the University of Nebraska-Lincoln for many years. Now, she teaches voice at the
University of Utah. James E. Ford is a professor at the University of Nebraska-Lincoln
where he teaches in the English Department. He also publishes and edits books. The
editors have compiled a group of essays on the two-register theory and a few other topics.
Cornelius L. Ried is a major contributor as he describes his many years of experience as a
voice teacher. The book opens with a basic description of the voice and becomes more
detailed. There is also a section on vocal repair including an article on Maria Callas.
Caldwell, Robert and Joan Wall. Excellence in Singing Volumes 1-6. Redmond,
Washington: Caldwell Publishing Company, Pst…Inc. Subsidiary, 2001.
Robert Caldwell earned his bachelors and masters degrees in music, has authored
and co-authored several book on the anatomy of the voice, and owns his own publishing
company. He continues to lecture and hold masterclasses. Joan Wall taught at Texas
Woman‟s University. After 44 years of teaching voice there, Wall retired in 2008. She
has written several books on singing aspects including pedagogy, diction, and anatomy.
The Excellence in Singing series delves into many of the aspects of singing.
Multilevel learning and multilevel teaching are emphasized throughout the set. The first
volume, Beginning the Process, offers an introduction to teaching and singing. It also
provides exercises to develop proper technique in posture, breathing, resonance, and
phonation. Volume 2 is entitled Mastering the Fundamentals. Developing flexibility is
the focus of this book. It begins with creating a supportive body that can handle the
advanced techniques of flexible breath, flexible phonation, and flexible resonance.
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Volume 3, Advancing the Technique, provides many exercises for coordinating and
conditioning the parts of the body that control the voice. Becoming an Artist is the title
of Volume 4. This discusses interpretation and evolving into an artist from the
perspectives of both the singer and teacher. The final volume speaks of managing vocal
health. It describes various health problems and case studies to educate the singer and
teacher. There is a cumulative index for quick reference and many exercises contained
within each volume.
Callaghan, Jean. Singing and Voice Science. San Diego, California: Singular
Publishing Group, 2000.
Dr. Jean Callaghan holds a PhD in vocal pedagogy and works as a singer,
researcher, and pedagogue in Australia. She has taught at many universities including the
University of Western Sydney, where she currently oversees performance training,
collaborating with teachers of acting, movement, and spoken voice to create an integrated
performer. This book is for singers, teachers, voice scientists, or speech language
pathologists working with singers. She discusses modern voice scientific findings in the
context of the musical singer. This provides a basis for teaching technical skills, for
diagnosing and correcting vocal faults, and for ensuring efficient voice production, all of
which are of vital importance to the vocal pedagogue and student alike.
Coffin, Berton. Historical Vocal Pedagogy Classics. Metuchen, New Jersey: The
Scarecrow Press, Inc., 1989.
Dr. Berton Coffin (1910-1987), an internationally known vocal pedagogue, taught
at the University of Colorado at Boulder for over thirty years. He has written many
books on the subjects of vocal techniques, phonetics, translations, and repertoire based on
acoustics of the voice and the pitch of vowels. He was known for his love of teaching
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and his desire to see improvement in his students. Historical Vocal Pedagogy Classics is
a compilation of essays written by the “greats” in the vocal field including, Manuel
Garcia, Mathilde Marchesi, Francesco Lamperti, Giovanni Battista Lamperti, and Lilli
Lehmann. Each person offers his or her perspective on the art of singing. Before each
essay, an introductory note provides a summary of what you are about to read. It also
puts the work in context with the others in the book.
Conable, Barbara and William Conable. How to Learn Alexander Technique: A
Manual for Students. Portland, Oregon: Andover Press, 1995.
Barbara Conable is a teaching member of the American Society for the Alexander
Technique and of Alexander Technique International. She has taught movement classes
at the Cincinnati Conservatory for many years but is now retired living in Oregon.
William Conable, designer and illustrator of the book, is an Emeritus Professor of Music
at The Ohio State University. He teaches at KAPPA, an Alexander Technique training
school in Kyoto, Japan and gives numerous workshops throughout the US and Europe.
The Alexander Technique, developed by F.M. Alexander, is a simple and practical
method for improving ease and freedom of movement, balance, support, flexibility, and
coordination. This technique is beneficial for singers, dancers, and instrumentalists alike.
It describes how to achieve this position of no tension through words and through the
many illustrations of muscles and the skeletal system.
David, Marilee. The New Voice Pedagogy. Lanham, Maryland: The Scarecrow
Press, Inc., 1995.
Marilee David received her BM and MM from the University of Illinois at
Urbana-Champaign and her DM in voice performance from Indiana University in
Bloomington. Dr. David teaches at Reinhardt University in Waleska, Georgia. Her
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Garcia II, Manuel. A Complete Treatise on the Art of Singing. New York: Da
Capo Press, 1984.
Manuel Garcia II grew up in a very musical family. He trained in Paris and then
came to the United States in 1825. His Metropolitan Opera debut was in the role of
Figaro in The Barber of Seville. He began filling in for his father, a tenor, but Manuel
was a baritone and he damaged his voice. He returned to Paris to embark on another
career in navigation and astronomy. His mother encouraged him to teach voice instead
and he produced many successful students. He was also an accomplished author in the
area of voice. Garcia‟s Complete Treatise on the Art of Singing offers a complete guide
to the singing instrument. In volume 1, he discusses voice classification, tone, timbre,
breathing, vocal qualities, and registration. He then describes the Italian bel canto
technique in great detail offering many exercises on how to achieve the ultimate legato.
In volume 2, he discusses articulation, phrasing, ornamentation, expression, and various
styles of recitatives.
Hemsley, Thomas. Singing and Imagination. New York: Oxford University
Press, 1997.
Initially trained as a physicist, Thomas Hemsley later became a singer and taught
at the Guildhall School of Music and Drama and Trinity College of Music. He has given
many song classes in Britain and Scandinavia, where he was also guest Professor at the
Royal Danish Academy of Music. He has performed over 150 operatic roles and has a
reputation as a great interpreter of Lieder . He has performed in Europe for many of the
world‟s finest conductors, composers, and singers. After an introduction of the basics of
singing and his opinion on the thoughts of others, he begins to describe in detail posture,
breath, vocal color, the singer‟s ear, and the onset of tone. He also includes quotes from
other famous vocal pedagogues. He then delves into the words and musical
interpretation. He describes how to approach a new song and make choices about the
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style and mood of a song. He states that the singer must decide who is singing and to
whom they are singing. If all of these classification choices are clear, this will result in
an imaginative performance.
McKinney, James. The Diagnosis and Correction of Vocal Faults. Nashville,
Tennessee: Genevox Music Group, 1994.
James C. McKinney (1921-1998) was dean of the school of church music and
distinguished professor of voice at Southwestern Baptist Theological Seminary in Fort
Worth, Texas. He held a B.M. and M.M. from Louisiana State University and a D.M.A.
for the University of Southern California. Dr. McKinney was an active member of
NATS and the American Academy of Teachers of Singing. He performed in the United
States and in the Orient. He has ten publications to his credit. The Diagnosis and
Correction of Vocal Faults is designed for teachers of singing and for choir directors to
use as a manual in dealing with vocal problems encountered in rehearsal and in the
studio. The approach is based on diagnostic procedures similar to those used by doctors.
As each vocal fault is presented, the identifying characteristics and symptoms are stated.
Possible causes are discussed and corrective procedures are suggested. This book also
includes a cassette tape of actual examples of the various vocal faults mentioned in this
book. This book not only discusses vocal faults, but also the basic aspects of singing. He
describes the vocal problems that are related to improper singing as related to breath,
posture, resonation, articulation, and coordination. It is a great resource for any teacher.
The book is arranged so that if you are looking for an answer to a specific vocal problem,
you can go straight to the answer without having to read an entire book. He gives
possible solutions ranging from issues with breathing and support to changing tone color.
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Miller, Richard. National Schools of Singing: English, French, German and
Italian Techniques. 1997.
Richard Miller (1926 -2009) was a world-renowned vocal pedagogue, singer, and
author. He was a professor of singing and director of the Otto B. Schoepfle Vocal Arts
Center, Oberlin Conservatory of Music. He performed in Europe and America in the
opera, recital, and oratorio venues. He conducted masterclasses and hosted clinics on his
pedagogical techniques. His many articles appeared in The NATS Journal and the
Journal of Voice. His former students are engaged as premier singers in major American
and European opera houses.
National Schools of Singing examines and compares the historic and “then-
current” techniques practiced in the four major Western European schools of vocalism.
Miller tries to determine what technical maneuvers within them might be most efficient
from the standpoints of physiologic and acoustic function. This book is for singers and
teachers with some knowledge of existing techniques. He examines various vocal issues
such as the attack or onset, breathing, vowel formation, resonance, vibrato, registration,
language, and each of the four main voice categories within the context of each school of
thought. Since he performed studies on each school of thought, he noticed what worked
best from each technique.
Miller, Richard. The Structure of Singing: System and Art in Vocal Technique.
New York: Schirmer Books, 1986.
The Structure of Singing contains many exercises to aid the singer in achieving a
better voice. Chapters 1-8 discuss technical aspects that apply equally to all singers.
Chapter 9 deals with unifying the registers of the male voice and chapter 10 does the
same for females. Chapters 11-15 discuss advanced techniques, such as vowel
modification, dynamic control, vibrato, and vocal timbre. Chapter 16 is directed more
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towards teachers and chapter 17 covers healthy singing, which applies to everyone. This
book clearly states various vocal problems and provides exercises on how to resolve
them. Miller explains that while no one ever learned to sing by reading a book, there is a
technical foundation that must be understood in order to acquire “vocal freedom.” The
exercises are clearly described and the book contains several pictures, charts, and graphs
in the appendix to aid singers and teachers.
Thurman, Leon and Graham Welch. Bodymind and Voice: Foundations of Voice
Education. Iowa City: NCVS, 2000.
Leon Thurman holds an Ed.D. and manages The Leon Thurman Voice Center in
Minneapolis, Minnesota. He works with singers and speakers to maintain a healthy
singing and speaking voice. Graham Welch teaches voice at The University of London.
He is the chair of the International Music Education Research Centre and travels
worldwide lecturing on aspects of music education, voice, and voice science, and the
psychology of music.
This three-volume set delves into many of the technical aspects of singing. Titles
of each book are as follows: Book I: Bodymind, Learning, and Self-Expression, Book II:
How Voices are made and How They are „Played‟ in Skilled Singing and Speaking, Book
III: Health and Voice Protection, Book IV: Lifespan Voice Development, and Book V: A
Brief Menu of Practical Voice Education Methods. These volumes discuss the human
body and its effects on the singer. It also discusses the psychological behavior of voice
teachers and students.
Ware, Clifton. Basics of Vocal Pedagogy: The Foundations and Process of
Singing. United States: McGraw-Hill, 1998.
Dr. Clifton Ware is the resident tenor, coordinator of vocal instruction and
instructor of applied voice, vocal pedagogy, and vocal performance at the University of
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This book outlines more specifically the technique Chekhov used when teaching,
not merely lessons on how to teach, as the previous book. He emphasized, “inspired
acting” through characterization (imaginary body and center) and body (psycho-physical
exercises). He combined truth, beauty, form, objective, imagination, and atmosphere to
create a whole character. There are detailed descriptions of all of his ideas and exercises
for practical use.
Hagen, Uta. A Challenge for the Actor. New York: Macmillan Publishing
Company, 1991.
Uta Hagen (1919-2004) was born in Germany and later came to the United States
with her parents. Hagen admits that this book is meant to be absorbed and practiced over
a number of years. She highlights the need for talent, but there are many other skills to
be learned. The book is in four parts: The Actor, The Human Techniques, The Exercises,
and The Role. There are sections for the teacher as well as homework for the student.
Hagen, Uta. Respect for Acting. New York: Macmillan Publishing Company,
1973.
Respect for Acting was the predecessor of A Challenge to the Actor. It contains
three sections: The Actor, The Object Exercises, and The Play and the Role. In this book,
Hagen‟s concept of substitution is clearly defined in section one. She says many actors
want to lose themselves in a role, but she proposes it is better to find oneself in a role. By
doing so, you can relate your life experiences to those of the character you are portraying.
Stanislavski, Constantin. An Actor Prepares. Translated by Elizabeth Reynolds
Hapgood. New York: Theatre Arts Books, 1948.
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Stanislavski (1863-1938) worked in Moscow at the Moscow Art Theatre. He
wanted a record of how the theater was created and operated. Previous editions of his
writings were poorly edited or translated resulting in many of his concepts being
mistakenly presented or missing altogether especially the sections on units and
objectives, inner motive forces and the super-objective, and truth. He states, “It is so
much easier to lie when you are on the stage than to speak and act the truth.” His concept
of Method Acting focuses on truth and reality.
Stanislavski, Constantin. Creating a Role. Translated by Elizabeth Reynolds
Hapgood. New York: Theatre Arts Books, 1961.
This book is in three parts, each using techniques to create a role through three
specific examples. He outlines the need to study the period in which the piece was
written, the circumstances surrounding it, and practice creating objectives. As an
appendix, he includes a supplement entitled, A Plan of Work. In this supplement, he
outlines a systematic guide on how to create a role. Essentially, he sums up the entire
concept in a few pages, but the work details are in the book itself.
Whyman, Rose. The Stanislavsky System of Acting. New York: Cambridge
University Press, 2008.
Rose Whyman teaches at the University of Birmingham. She has worked with
various theatre companies through the US. In this book, she takes Stanislavski‟s system
and compares it to Chekhov, Vakhtangov, and Meyergold. There is also a section on
approaching a role listed in the appendix.
Zinder, David. Body Voice Imagination. New York: Routledge, 2009.
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David Zinder is a master teacher of the Michael Chekhov Technique of acting
training. He is a Professor Emeritus of the Tel Aviv University Department of Theatre
Arts. This updated version of his book includes a chapter on bridging the gap between
training and performance, as well as practical exercises and an idea called, ImageWork, a
concept of instrument training he uses as a preparation for the Chekhov Technique. The
majority of the book contains exercises for individuals as well as groups.
Opera Workshop and Opera Resources
Balk, H. Wesley. The Radiant Performer. Minneapolis: University of Minnesota
Press, 1991.
H. Wesley Balk, former professor of theater at the University of Minnesota, has a
wide variety of directing credits to his name including the New York City Opera, Santa
Fe Opera, San Francisco Opera, Houston Opera, Washington Opera, Central City Opera,
and the Minnesota Opera Company. He served as the director of Performer Development
for the New Music Theater Ensemble of the Minnesota Opera Company. Professor Balk
considered the concept of a full-spectrum singer in three realms of performance:
Exploratory Music Theater, Traditional Opera, and Musical Theater. He identifies the
importance and the process of how to develop the singer-actor combination. He
introduces exercises on how to achieve a “singer-actor” through facial expressions,
attitudes, and gestures. The result, he explains, is a radiant performer, one who is “aware
of and exercises a complete range of performance choices on as many energy spectra as
possible-vocal, physical, emotional, and mental…” The process is mapped out through
various diagrams and exercises.
Clark, Mark Ross. Singing, Acting and Movement in Opera. Bloomington,
Indiana: Indiana University Press, 2002.
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Mark Ross Clark is a voice teacher and opera director currently at The University
of Louisiana at Monroe. He has taught opera workshop and produced over 50 operas in
his career. He conducts singer-getic workshops at universities and young artist programs
throughout the United States. His book contains three sections: preparation, integration,
and application. There are exercises in each section as well as interviews with singers,
coaches, directors, conductors and composers. The interview sections will help guide the
directors as well as the singers who read this book.
Dornemann, Joan. Complete Preparation: A Guide to Auditioning for Opera.
New York: Excalibur Publishing, 1992.
Joan Dornemann is a highly respected opera coach. She works as Assistant
Conductor of the Metropolitan Opera, where she prepares artists for their upcoming roles.
Some of these prestigious artists include Pavarotti, Domingo, Ferny, Carreras, Miles, Te
Konawa, Scott, Horne, Kraus, and Caballe. She has also prompted under the direction of
Levine, Conlon, Veltri, and Kleiber. She is a great supporter of young singers, has
appeared in People Magazine, and was featured on The Tonight Show and Sunday
Morning with Charles Kuralt. Complete Preparation serves as a wonderful guide to
singers who are on the brink of starting an operatic career. She gives great advice
regarding repertoire, language and text, and in the ins and outs of the audition process.
She analyzes each voice type and gives advice as to what roles work best. She also
carefully explains that the voice will develop into what it will and that it should not be
forced into a particular category too soon. She also advises singers to sing what they do
best and to analyze what they like about their voice and not to criticize. She also stresses
preparation when learning any operatic literature.
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Hines, Jerome. Great Singers on Great Singing. New York: Doubleday &
Company, Inc., 1982.
Jerome Hines (1921-2003) was a leading bass at the Metropolitan Opera for many
years. He gave his last public performance in 2001 at the Boston Bel Canto Opera at the
age of 79. Mr. Hines has also composed an opera, I Am the Way, the life of Jesus, which
he produced at the Metropolitan Opera House in 1968. Mr. Hines compiled interviews
from some of the world‟s best singers including Placido Domingo, Nicolai Gedda,
Marilyn Horne, Anna Moffo, Sherrill Milnes, Birgit Nilsson, Lucianno Pavarotti, Roberta
Peters, Beverly Sills, and Joan Sutherland. Each singer gives his own perspective on
various vocal techniques from vowel placement to breath support. He also includes his
own ideas about singing.
Kayes, Gillyanne. Singing and the Actor. New York: Theatre Arts
Books/Routledge, 2000.
Gillyanne Kayes has worked with many performers and pop singers. A leading
exponent of Estill Voice Craft, she frequently runs seminars and workshops in the United
Kingdom and Europe. She also advises teachers and choral directors. This book is in
three sections dealing with fundamental principles, voice training, and the requirements
for performance. The fundamental principles in chapters 1-4 deal with the nature of the
vocal instrument. It also discusses some common problems with beginning singers.
Chapters 5-9 deal with training the voice and offer various vocal exercises to develop the
singing voice. Chapters 10-13 discuss working the texts of the songs. She describes that
the performer needs to make choices and commit to them 100% in order achieve the
confidence he desires.
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Kennedy, Michael. Richard Strauss. New York: Schirmer Books, 1996.
Krause, Ernst. Richard Strauss: The Man and His Work. London: Collet‟s Ltd., 1964.
Lamperti, Giovanni Battista. Vocal Wisdom. Translated by Lillian Strongin. Malboro, New Jersey: Taplinger Publishing Co., Inc., 1980.
Lehmann, Lotte. Five Operas and Richard Strauss. New York: The MacmillanCompany, 1964.
________. Singing with Richard Strauss. London: Hamish Hamilton, 1964.
Mann, William. Richard Strass: A Critical Study of the Operas. London: Cassell &Company Ltd, 1964.
Marek, George. The Music of Poetry or the Poetry of Music in Der Rosenkavalier . TheMetropolitan Opera Classics Library: Little, Brown and Company: Boston,1982.
Osborne, Charles. The Complete Operas of Richard Strauss. London: Michael O‟MaraBooks Limited, 1988.
Ostwald, David F. Acting for Singers: Creating Believable Singing Characters. NewYork, New York: Oxford University Press, 2005.
Petersen, Barbara A. Ton und Wort: The Lieder of Richard Strauss. Ann Arbor, MI:University UMI Research Press, 1980.
Robinson, Paul. Opera and Ideas: From Mozart to Strauss. Ithaca, New York: Harper &Row, Publishers, Inc., 1985.
Shea, George E. Acting in Opera. New York, New York: Da Capo Press, 1980.
Stanislavski, Constantin. An Actor Prepares. Translated by Elizabeth ReynoldsHapgood. New York: Theatre Arts Books, 1948.
________. Building a Character. New York: Theatre Arts Books, 1977.
Stanislavski, Constantin and Pavel Rumyantsev. Stanislavski on Opera. Translated andedited by Elizabeth Reynolds Hapgood. New York, New York: Routledge,1975.
Strauss, Richard and Hugo von Hofmannsthal. The Correspondence Between RichardStrauss and Hugo von Hofmannsthal. Translated by Hanns Hammelmann and
Ewald Osers. Cambridge: Cambridge University Press, 1961.
Sutcliffe, Tom. Believing in Opera. Princeton, New Jersey: Princeton UniversityPress, 1996.
White, Edwin C., and Marguerite Battye. Acting and Stage Movement. ColoradoSprings, Colorado: Meriwether, 1985.
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Musical Scores/Libretti
Strauss, Richard. 40 Songs. Ed. Laura White and Richard Walters, Milwaukee,Wisconsin: Hal Leonard Corporation, 1995.
________. Der Rosenkavalier . Comedy for Music in Three Acts, libretto by Hugo
von Hofmannsthal, Richard Strauss Edition. Mainz: Schott Music InternationalGmbH & Co. KG, 1996.
________. Der Rosenkvalier. Vocal Score arrangement by Otto Singer. New York:Dover Publications, Inc., 1987.
________. Lieder, vols. 1-4 of the Complete Edition. Edited by Dr. Franz Trenner.London: Fürstner- Boosey and Hawkes, 1964.
________. Selections from Der Rosenkavalier: A Master Class with Evelyn Lear. NewYork: G. Schirmer, Inc. 1989.
Periodicals
Alt, David. “Popular Song and Music Theater” Triple Threat Training Program‟sWeakest Area- Reading Music: Reinforcing Sight Reading in the Voice Studiofor Singer/Actors.” Journal of Singing- The Official Journal of the National Association of Teachers of Singing . 60, no. 4, 2004.
Balk, H, Wesley. “The Craft of Creating Opera – Restoring a Lost Legacy through theWorkshop Process.” In Perspectives, Creating and Producing ContemporaryOpera and Musical Theater, ed. Ellen Blassingham, 81-99. Washington, DC:OPERA America, 1984.
Brian, Experience. “Stanislavsky and the Classical Singer.” Classical Singer (October2000).
Swedberg, Robert. “Letters from the Board.” Opera America 16 (September 2006): 4.
White Robert C “Voice Pedagogy: Reality Check! Training for an Operatic Career ”