ballo in maschera (Giuseppe Verdi) Chrysothemis, Elektra (Richard Strauss) Cio-Cio San, Madama Butterfly (Giacomo Puccini) Donna Elvira, Don Giovanni (Wolfgang Amadeus Mozart) Elisabeth, Tannhäuser (Richard Wagner) Elsa, Lohengrin (Richard Wagner) Maddalena, Andrea Chénier (Umberto Giordano) Magda Sorel, The Consul (Gian Carlo Menotti) Marie, Wozzeck (Alban Berg) Marie/Marietta, Die tote Stadt (Erich Wolfgang Korngold) Suor Angelica, Suor Angelica (Giacomo Puccini) English equivalent: full dramatic soprano Range: From about the A below middle C (A3) to the C two octaves above middle C (C6) Description: Characterized by their rich, full sounding voices, dramatic sopranos are expected to project across large orchestras, a feat that requires a powerful sound. Dramatic sopranos are not expected to have the vocal flexibility of the lighter . Although most dramatic sopranos have a darker, more robust quality to the voice, there are some that possess a lighter lyrical tone. In these instances, however, the substantial amount of volume and endurance normally associated with the dramatic soprano voice is still present. The darker voiced dramatic soprano may even make a foray into the dramatic mezzo-soprano territory with great success. Roles: Ariadne, Ariadne auf Naxos (Richard Strauss) Cassandre, Les Troyens (Hector Berlioz) Elektra, Elektra (Richard Strauss) La Gioconda, La Gioconda (Amilcare Ponchielli) Leonore, Fidelio (Ludwig van Beethoven) Minnie, La fanciulla del West (Giacomo Puccini) Santuzza, Cavalleria rusticana (Pietro Mascagni) Sieglinde, Die Walküre (Wagner) Tosca, Tosca (Giacomo Puccini) Turandot, Turandot (Giacomo Puccini) English equivalent: High dramatic soprano Range: From about the F below middle C (F3) to the C two octaves above middle C (C6) Description: A voice capable of answering the demands of operas of Wagner's maturity. The voice is substantial, very powerful, and even throughout the registers. It is immense, stentorian and even larger than the voice of the "normal" dramatic soprano. Although the two voices are comparable and are sometimes hard to distinguish between, this voice has even greater stamina, endurance and volume than the former. The top register is very strong, clarion and bright. Successful are rare. Roles: Desdemona, Otello (Giuseppe Verdi) Eva, Die Meistersinger von Nürnberg (Richard Wagner) Helmwige, Die Walküre (Richard Wagner) Giulietta, Les contes d'Hoffman (Jacques Offenbach) Liza, The Queen of Spades (Pyotr Ilyich Tchaikovsky) Marschallin, Der Rosenkavalier (Richard Strauss) Mimi, La bohème (Giacomo Puccini) Salome, Salome (Richard Strauss) Woglinde, Das Rheingold and Götterdämmerung (Richard Wagner) The woodbird, Siegfried (Richard Wagner) Mezzo-soprano English equivalent: coloratura mezzo-soprano Range: From about the G below middle