# 10 of the most challenging soprano roles



## ldiat (Jan 27, 2016)

saw this on face book just sharing 
http://www.roh.org.uk/news/aiming-high-10-of-the-most-challenging-soprano-roles


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## Pugg (Aug 8, 2014)

ldiat said:


> saw this on face book just sharing
> http://www.roh.org.uk/news/aiming-high-10-of-the-most-challenging-soprano-roles


The Queen of the night comes off very easy so to speak, two aria's and done is the job.
I rate the other more highly.


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## chill782002 (Jan 12, 2017)

Although it's not an operatic piece, Sibelius' "Luonnotar" is said to be a very challenging piece for a soprano to perform.


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## BalalaikaBoy (Sep 25, 2014)

some of them were a bit thoughtless. "they're either really high or really dramatic, so let's throw them on the list!"


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## BalalaikaBoy (Sep 25, 2014)

I'd add Odabella and Esclarmonde to the list. Lady Macbeth too (among other things, that pianissmo Db6 coming from such a weighty, dark role is just.....wow)


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## WildThing (Feb 21, 2017)

No Isolde, huh?


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## MAS (Apr 15, 2015)

If we're talking challenging *roles*, not arias: *Medea*, *Norma*, Walkure *Brunhilde*, *Elektra*, Rossini's *Armida*, Handel's *Cleopatra* in Giulio Cesare, *Elena* in I Vespri Siciliani, *Isolde* in T&I, *Esclarmonde*, *Abigaille* in Nabucco.


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## Macbeth (Sep 6, 2017)

BalalaikaBoy said:


> I'd add Odabella and Esclarmonde to the list. Lady Macbeth too (among other things, that pianissmo Db6 coming from such a weighty, dark role is just.....wow)


that, the treacherous cabaletta of the opening aria and the the trills of the _brindisi_ scene.

I would add to this list Gioconda, which being an uttermost dramatic role, has to perform all those unexpected agilities at the end, when the final duo comes . In fact I've heard very few that can really cope with it. Hard to say what Ponchielli had in mind.


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## Seattleoperafan (Mar 24, 2013)

The Queen of the Night may not be long, but you have to be up to the skill set to even attempt it. it is like jumping over a really really high bar in an athletic event. It may not take long to do it but most people are eliminated before making the attempt. Nilsson could sing it .... after she sang Isolde, I believe.


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## Pugg (Aug 8, 2014)

Seattleoperafan said:


> The Queen of the Night may not be long, but you have to be up to the skill set to even attempt it. it is like jumping over a really really high bar in an athletic event. It may not take long to do it but most people are eliminated before making the attempt. Nilsson could sing it .... after she sang Isolde, I believe.


As I said, it's not easy , however if you take Lucia for example the soprano has to be in top form to do the job whilst we al waiting for that dazzling "Mad Scene".


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## Macbeth (Sep 6, 2017)

Pugg said:


> The Queen of the night comes off very easy so to speak, two aria's and done is the job.
> I rate the other more highly.





Seattleoperafan said:


> The Queen of the Night may not be long, but you have to be up to the skill set to even attempt it. it is like jumping over a really really high bar in an athletic event. It may not take long to do it but most people are eliminated before making the attempt. Nilsson could sing it .... after she sang Isolde, I believe.


The Queen of the Night they can do it or they can't, that's just it, but as Pugg said, it's two arias (crazy ones) and they're out.
What I've found interesting in some performances is that some not so great light sopranos can sing those arias and yet that alone doesn't make them particularly remarkable, like some DVD I saw and I can't bother to remember who was the Queen, but it was weird that she had no trouble with the staccati but the problem was the voice lacked a lot in steadiness the rest of the time.

Now Nilsson singing Isolde and Königin, _*that *_is something! Well, and Salome, Elektra...


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## nina foresti (Mar 11, 2014)

While agreeing with MAS, I would also like to add: Butterfly/Minnie/Turandot


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## Pugg (Aug 8, 2014)

Personally I do find Armida one of the most tour de forces, surround by all those tenors and almost all the time on stage. At the end you still have to perform the finale.


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## DonAlfonso (Oct 4, 2014)

Tytania in Midsummer Night's Dream


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## superhorn (Mar 23, 2010)

One of the most difficult soprano roles is that of the crazed Renata in Prokofiev's nightmarish " The Fiery Angel ". Renata is on stage through most of the opera and has to sing a voce-shredding part and emote to an insane degree . And over a raging orchestra . 
Renata is tormented by demons which may or may not be imaginary and is obsessed with finding the mysterious "fiery angel " which she knew as a child in human form . Is this an imaginary friend from her troubled childhood or genuine demons ? As the opera progresses, things get creepier and creepier .
Her would be lover , the wandering knight Ruprecht, a baritone role which is also extremely difficult is obsessed with Renata and wants to marry her, be she keeps him at arms length and tolerates hm only as someone to help her in her search for the fiery angel all kinds of the creepiest necromancy and study of demonology . 
IN the final scene , Renata has retreated to a monastery to try to escape Ruprecht and her own feelings of sexual attraction to him. But the nuns have been possessed by demons and are behaving in horrendous manner , and the grand inquisitor is called to perform an exorcism on Renata . But the whole thing goes horribly wrong and a scene of terrifying hysteria and chaos ensues . 
Renata is condemned to die at the stake as a witch and sorceress ! 
Maria Callas was approached to sing the role of Renata, but she found the music too weird and dissonant and turned down the offer !


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## MAS (Apr 15, 2015)

superhorn said:


> One of the most difficult soprano roles is that of the crazed Renata in Prokofiev's nightmarish " The Fiery Angel ". Renata is on stage through most of the opera and has to sing a voce-shredding part and emote to an insane degree . And over a raging orchestra .
> Renata is tormented by demons which may or may not be imaginary and is obsessed with finding the mysterious "fiery angel " which she knew as a child in human form . Is this an imaginary friend from her troubled childhood or genuine demons ? As the opera progresses, things get creepier and creepier .
> Her would be lover , the wandering knight Ruprecht, a baritone role which is also extremely difficult is obsessed with Renata and wants to marry her, be she keeps him at arms length and tolerates hm only as someone to help her in her search for the fiery angel all kinds of the creepiest necromancy and study of demonology .
> IN the final scene , Renata has retreated to a monastery to try to escape Ruprecht and her own feelings of sexual attraction to him. But the nuns have been possessed by demons and are behaving in horrendous manner , and the grand inquisitor is called to perform an exorcism on Renata . But the whole thing goes horribly wrong and a scene of terrifying hysteria and chaos ensues .
> ...


I'm glad Callas turned it down. I absolute abhor the horrible piece!


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## superhorn (Mar 23, 2010)

MAS , too bad you don't like this opera . It's one of the greatest operas of the 20th century IMHO .


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## MAS (Apr 15, 2015)

superhorn said:


> MAS , too bad you don't like this opera . It's one of the greatest operas of the 20th century IMHO .


superhorn, it is entirely my problem....I don't like most modern music.


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