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Christine as a Mezzo-Soprano? 
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Post Christine as a Mezzo-Soprano?
I didn't see a thread on this and I've been wondering about this for a while. I've read several sources that have said that the role of Christine could be played by a mezzo, rather than a soprano. Have there ever been any professional productions (Broadway, London, Tour, etc.) where Christine was played by a mezzo-soprano?

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Mon Nov 23, 2009 10:09 pm
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Umm ... I always imagine Christine as a Coloratura soprano....

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Mon Nov 23, 2009 10:12 pm
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From Equity:

CHRISTINE DAAE: 20’s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floaty soprano. She sings briefly to high E. Principal Role.


Few mezzos have done the role, but a couple of coloraturas and many lyric sopranos have. The role do require a solid lower range, but a true mezzo would sound rather heavy and misplaced.

Some has described Emmy Rossum as a mezzo, and I see what they mean - her range sounds somewhat limited, with faint upper notes, while she achieves a nice, full sound in lower notes. But I think it's more a question of training than her actual voice type. Had a good voice teacher worked with her for some years, I think her range would have expanded and her upper notes sound a lot more convincing, making her a true soprano.

To be honest, I've never seen the role described as a mezzo. Where did you see that?

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Tue Nov 24, 2009 2:12 am
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Whats that Equity you refered to Opera? :?:

I would love to see such character description somewhere so I can find a bit more insight on what different characters do and require in terms of singing. :wink:

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Tue Nov 24, 2009 4:08 am
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Heavylove wrote:
Whats that Equity you refered to Opera? :?:

I would love to see such character description somewhere so I can find a bit more insight on what different characters do and require in terms of singing. :wink:


Here you go...the audition notices from Equity...

CHRISTINE DAAE: 20’s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floaty soprano. She sings briefly to high E. Principal Role.

THE PHANTOM: 30’s – 40’s: high baritone or tenor (with a good low range) from low A flat to high A flat. Needs a dynamic, bravura, 'star' performance, both frightening and irresistible. Principal Role.

RAOUL, VICOMTE de CHAGNY: Late 20’s – early 30’s: dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat). Principal Role.

FIRMAN & ANDRE: Late 30’s – 50ish; the managers of the Paris Opera House. Trying to be elegant, they are slightly befuddled and bumbling. Need good instincts for stylish comedy. Good supporting roles. Baritones; one sings to A, one to G. Principal Role.

CARLOTTA GIUDICELLI: 30’s – EARLY 40’s; the prima donna of The Paris Opera. A diva in every sense of the word. Coloratura soprano, to high E. Requires opera training. Principal Role.

MADAME GIRY: Late 30’s – early 50’s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat. Principal Role.

UBALDO PIANGI: Late 30’s – 50’s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training. Principal Role.

MEG GIRY: Late Teens – Early 20’s. A member of the Corps de Ballet. Must dance on pointe and sing mezzo soprano to G.

DON ATTILIO/PASSARINO: (Chorus contract – excellent small specialty role) 30’s – 40’s. Bass or Bass baritone with a solid and legitimate low F. Should be a physically interesting character man with a good sense of comedy.

WARDROBE MISTRESS/CONFIDANTE: (Chorus contract –excellent small specialty role) 30’s – 40’s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.

MONSIEUR REYER: (Chorus contract-excellent small specialty role) 30’s – 40’s. Tenor. Character role. The repetiteur (vocal coach) of the Paris Opera. An agitated, finicky, meticulous fellow. A strict disciplinarian. . always on the verge of hysteria.

LEFEVRE: (Chorus contract - excellent small specialty role) Late 30’s – early 50’s: Manager of the Paris Opera House who is handing over his position at the top of the show. Eager to be rid of the whole situation. Good instincts for stylish comedy.

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Rebecca Caine is probably the best example of a soprano with a good lower range as Christine. Her voice starts out low in TOM, but she easily hits all the high notes too. Her range gives her this great dark edge to her voice and keeps it from getting chipmunkey...

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Last edited by Mistress on Tue Nov 24, 2009 2:18 pm, edited 1 time in total.



Tue Nov 24, 2009 9:47 am
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Mistress wrote:
Rebecca Caine is probably the best example of a soprano with a good lower rangeas Christine. Her voice starts out low in TOM, but she easily hits all the high notes too. Her range gives her this great dark edge to her voice and keeps it from getting chipmunkey...

Ditto for Claire Moore, which was principal Christine when Rebecca Caine was alternate in London (1987). Lovely lower notes as well as upper notes. But Moore also has the cutes lisp and a diction to die for. He-he.

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operafantomet wrote:
To be honest, I've never seen the role described as a mezzo. Where did you see that?


I can't remember the original place where I read this, but here's a more recent site that I read this at.

http://en.allexperts.com/q/Acting-Plays ... pera-2.htm

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Paula74 wrote:
Heavylove wrote:
Whats that Equity you refered to Opera? :?:

I would love to see such character description somewhere so I can find a bit more insight on what different characters do and require in terms of singing. :wink:


Here you go...the audition notices from Equity...

CHRISTINE DAAE: 20’s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floaty soprano. She sings briefly to high E. Principal Role.

THE PHANTOM: 30’s – 40’s: high baritone or tenor (with a good low range) from low A flat to high A flat. Needs a dynamic, bravura, 'star' performance, both frightening and irresistible. Principal Role.

RAOUL, VICOMTE de CHAGNY: Late 20’s – early 30’s: dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat). Principal Role.

FIRMAN & ANDRE: Late 30’s – 50ish; the managers of the Paris Opera House. Trying to be elegant, they are slightly befuddled and bumbling. Need good instincts for stylish comedy. Good supporting roles. Baritones; one sings to A, one to G. Principal Role.

CARLOTTA GIUDICELLI: 30’s – EARLY 40’s; the prima donna of The Paris Opera. A diva in every sense of the word. Coloratura soprano, to high E. Requires opera training. Principal Role.

MADAME GIRY: Late 30’s – early 50’s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat. Principal Role.

UBALDO PIANGI: Late 30’s – 50’s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training. Principal Role.

MEG GIRY: Late Teens – Early 20’s. A member of the Corps de Ballet. Must dance on pointe and sing mezzo soprano to G.

DON ATTILIO/PASSARINO: (Chorus contract – excellent small specialty role) 30’s – 40’s. Bass or Bass baritone with a solid and legitimate low F. Should be a physically interesting character man with a good sense of comedy.

WARDROBE MISTRESS/CONFIDANTE: (Chorus contract –excellent small specialty role) 30’s – 40’s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.

MONSIEUR REYER: (Chorus contract-excellent small specialty role) 30’s – 40’s. Tenor. Character role. The repetiteur (vocal coach) of the Paris Opera. An agitated, finicky, meticulous fellow. A strict disciplinarian. . always on the verge of hysteria.

LEFEVRE: (Chorus contract - excellent small specialty role) Late 30’s – early 50’s: Manager of the Paris Opera House who is handing over his position at the top of the show. Eager to be rid of the whole situation. Good instincts for stylish comedy.

Thanks alot! Now I need to find the same rundown for my favorite show Cats^^ :wink:

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Wed Nov 25, 2009 12:52 am
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Some Mezzos can sing up to the high E, some even up to high G, they just have much better lower range. So yeah, it could be played by a mezzo

In the sequel, she's a mezzo :( (up to High B, which is high for a theatre mezzo but not an operatic one, so it depends which way your going by) not that I have anything against mezzos (especially not SJB!) its just not Christine, so maybe thats were you heard it from


Wed Nov 25, 2009 4:52 pm
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SJB is a goddess. Her voice is stunning, although it clashed with the pop score of Wicked and made it sound wrong and out of place at points. But she was basically the only reason why I bought The Pirate Queen cast recording. Her high notes are magical on there :D

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Wed Nov 25, 2009 5:13 pm
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SJB is awesome. I have to buy the Pirate Queen CD (Why did that close so fast? its sounded good...its boubil and schronberg for goodness' sakes!) She's a good example of a high mezzo! =D>


Thu Nov 26, 2009 11:56 am
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