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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

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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



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



ii

To Duane



iii

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.



iv

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



v

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



vi

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



vii

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



1

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.



2

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.



3

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



4

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.



5

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.



6

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.



7

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.



8

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.



9

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:



10

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.



11

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.



12

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.



13

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.



14

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.


27 Petersen, 45.

28 Jefferson, The Lieder of Richard Strauss, vii.



15

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.



16

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.



17

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.



18

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.



19

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.



20

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.



21

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.



22

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




23

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.



24

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




25

“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.


46 40 Songs, 159-164.



26

Musical Example 6: R. Strauss, “Amor ”, mm. 7-1847




27

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




28

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.



29

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.



30

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




31

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


53 Castel, 88.

54 Orchestral score, 192-193.



32

Musical Example 10: R. Strauss, Der Rosenkavalier, Act II: Presentation of the Rose,“Ich bin Euer Liebden”55

55 Orchestral score, 193.



33

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.



34

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.





36

Musical Example 12: R. Strauss, Der Rosenkavalier, Act II, “Ist Zeit und Ewigkeit/Wär‟

ich kein Mann”62

62 Piano-vocal score, 173-174.



37

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.



38

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




39

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.



40

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


69 Petersen, 48.



41

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.



42

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.



43

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




44

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.



45

“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




46

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.



47

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.



48

Musical Example 20: R. Strauss, Der Rosenkavalier, Act II, “Er muß mir Seinen Schutzvergönnen”79




49

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.



50

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.



51

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.



52

Musical Example 22: R. Strauss, Der Rosenkavalier, Act III, “Ich weiß nicht, was Euer

Gnaden meinen mit der Frag‟.”85




53

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.



55

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.



57

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



58

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




59

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.


98 40 Songs, 133-144.





62

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


101 Ibid.

102 Ibid.



63

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.




64

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.




65

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.




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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.



70

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.




71

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




72

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.



75

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





79

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?



80

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.





82

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.



83

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


136 Petersen, 167.



84

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.



85

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



87

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.





89

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.



90

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



91

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





93

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



94

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.



95

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



96

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





98

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.



99

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.







105

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 ”

Documents

A Voice Teacher Prepares- Using Art Song as a Teaching Tool for t