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Massenet's Cendrillon: Exploring the interactions of the orchestra and vocal line as found in the role of Cendrillon, and a dramatically rich role for the lyric mezzo soprano
Haney, Kristee Michelle
Haney, Kristee Michelle
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Abstract
Composer Jules-Émile- Frédéric Massenet wrote a variety of roles for mezzo sopranos, and his soaring vocal lines are coupled with sensitive communication of the text. In Cendrillon, Massenet writes leading roles for three mezzo soprano voices: Le Prince Charmant, Madame de la Haltière, Cendrillon (and one featured supporting role, the step-sister Dorothée). The three leading roles involve different vocal and dramatic demands, while still allowing the unique colors of the mezzo soprano voice to shine. I will explore Massenet's writing for the mezzo soprano and the interaction of the vocal line with the orchestra, in his "fairy tale" opera, Cendrillon. I will analyze scenes that deal with the role of title character Cendrillon and the specific vocal qualities that Massenet highlights in each: Cendrillon's arias in Act I and Act III; the scene with La Feé in Act I; the duet with the Prince Charmant in Act II; and the duet / trio with Prince Charmant and La Feé that ends Act III. Throughout the score of Cendrillon, Massenet demonstrates a wide range of compositional tools and a distinctive style in writing for the voice, characterized by unusual melodies and sweeping vocal lines underscored with lush orchestration. Cendrillon was composed in 1898 in the middle of Massenet's career (between the operas Sapho and Grisélidis) while working with French librettist Henri Caïn. Based on Cendrillon, as told by Charles Perrault, this treatment of the fairy tale is unique from her first appearance, as both composer and librettist introduce the title character as one with emotional breadth, not one that is resentful or defined by her current circumstances. Massenet's writing for her, from the Act I hearth song to her final duet with Prince Charming, "Vous êtes mon Prince charmant" (Act IV, Scene 3), showcases the expressive power that is the hallmark of his operatic writing. These selected scenes are only a few of the wonderful moments in Massenet's Cendrillon, and they provide a glimpse into a dramatically and vocally rich role for a lyric mezzo-soprano. In the character of Cendrillon, Massenet and Caïn have created a role with great depth, incredibly beautiful vocal lines, and something that is truly rare for mezzos in the operatic canon: the chance to end up with the prince.
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Date
2014-05-31
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University of Kansas
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Keywords
Music, Cendrillon, Massenet, Jules, Mezzo soprano, Opera