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The mezzo-soprano is a relatively rare and difficult to train part. There have been a number of relatively concentrated in the 19th-century French opera mezzo-soprano arias, opera mezzo-soprano roles are somewhat different from the past, is no longer the old, gloomy, is no longer a male role, the most prominent feature is the transformation of the role of identity, there are some young female image, they are beautiful, style, Ganaiganhen distinct personality. Composers to write for them a many beautiful arias popular, these arias has beautiful melodies, poetic lyrics, love story exciting. Such as \The role of sound aria singers concert repertoire. These arias in 19th century France, the political process resulted in literature and art has undergone tremendous changes, and France, as the music developed countries, is particularly sensitive to changes in French lyric opera and comic opera . The 19th century, the mezzo-soprano vocal skills development to a new level, before the castrato withdrew from the opera stage in this period, but the people of that era's aesthetic standards of the vocal art, they pay attention to the breath smooth and comfortable and the sound quality is beautiful, mellow, especially coloratura technique, especially, the range is also extended to a new width, the mezzo-soprano Mary Blankenburg very prominent, there is her sister 维阿尔多特, with her charming voice and performing conquered many composers, resulting in a lot of composers writing for her mezzo-soprano works and operas. Mezzo-soprano roles in the operas of this period are also its distinctive personality, Carmen, Dalila, hair-ni, and so is not in the typical Wenliang Xian cooked lady, the level of the role itself is more profound, more fascinating . French Language and Writing in the 19th century French lyric opera musicians gives the sense of music in the opera language and beautiful music, mezzo-soprano arias of this period particularly fascinating, in teaching, the use of this period French aria is also very easy to attract students active learning. With the objective conditions as a prerequisite, there are subjective wishes, a lot of the basic skills of the concert are resolved more easily. Detailed discussion of this period of three French opera arias to solve the the easy problems encountered mezzo-soprano singing. \practice can reduce the difficulty of the entire concert aria fragment Vocalise, remedy; \like himself. Girls special treble tone, vocal cords long cavity inevitably growled, language clarity compared to the more difficult in terms of the other part, the verbatim analysis and practice, in order to show the French Language and music perfect combination of ; with \mining the singer's acting ability, through the second creation, the sense of music training, posture training, concerts exchanges develop a comprehensive vocal music of artistic expression. Mezzo-soprano voice is very easy to go the most for wide, thick, thick, hard sound effects, such exaggerated tone can only make sound excessive force, and the most direct easily lead to excessive sound vocal cord lesions. Some mezzo-soprano fact for some reason did not solve the treble soprano part. Such beautiful tracks to relax their \19th century French opera mezzo-soprano aria is exceptionally magnificent part of the mezzo-soprano repertoire, three arias as if the tip of the iceberg in a large number of outstanding works of this period, the mezzo-soprano problems encountered in teaching must not only only that these three points so specific, but employing the works, full of character, beautiful melodies to attract girls in each tenor part. The mezzo-soprano part works the hardest training exercises process becomes more smoothly, this part of the mezzo-soprano aria excellent training materials in the teaching process should be more applied and promotion.
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