The French repertoire is often underestimated by French and foreign singers.
They barely remember a few works though they are numerous and cover a large scale of styles and periods.
French or foreign singers sense the same difficulty and dread the French language.
They often believe that this language is more difficult to sing than other languages.
Many singers also have trouble with the “ spoken declamation “, the transition between the spoken and the sung text in the Opera-Comique and Opera-Bouffe repertoire.
Sometimes characteristics of the French vocal music are blurred by a will to standardize.
It appears to me that we must offer the young singers a specific training so that they may adapt to the French repertoire.
We must give them the opportunity to know it better in order to support it better.
French repertoire is huge. It includes several styles :
- The baroque repertoire ( Lully, Rameau ….)
- The opera repertoire ( Massenet, Gounod, Saint-Saëns )
- The Opera-Comique repertoire (songs alternating with dialogues ) : as an exemple Carmen is part of the Opera-Comique
- Opera-Bouffe repertoire
- Operetta repertoire ( Offenbach, Lecocq, Planquette, Messager …)
- Melody repertoire (Gounod, Massenet, Debussy, Fauré, Poulenc…)
Choice of the repertoire
Some voices and some colors are more suitable to the French repertoire.
Which repertoire is suited to which vocal category ?
Pronounciation in French music
- Tradition and modernity
- Open vowels and closed vowels
- The mute “ E “
- Accent in the French language
- Rolled “ R “ or not ?
- Links : when do we have to use them and when not ?
- During this session, we will focus on the Opera, Opera-Comique repertoire and on melodies