Main role, main character. The leading lady can be referred to as the prima donna.
Often these are called 'trouser roles'. The female voice is low, singing at the highest possible range for a male voice. In the 2009-2010 season, Susan Graham sang the role of a male in Der Rosenkavalier at the Metropolitan Opera in New York City.
Michael Crawford might be the best known West End and Broadway Phantom, and Gerard Butler also performed the role, on film.
A breeches role, trouser role or hosenrolle is a term used to describe the role sung by a female which is truly the role of a young man or male teen.Read more, below.
Well, often they happen to be, but a prima Donna is actually more of an annoyingly full of herself female singer (almost always a soprano) who insists on running everything her way or she will throw a fit and refuse to sing. Kind of like a musical drama queen. You have to put up with them because the opera can't go on without them. *sigh* Originally the phrase did mean the main female singer in an opera, or the female member of the opera troupe who almost always got the leading role.
The star, the lead role, the title role (in some cases). You may mean "prima donna," which means "first lady," or less often, "primo uomo," for the male lead. Other than those, there's not really any particular term just for opera.
Main role, main character. The leading lady can be referred to as the prima donna.
Often these are called 'trouser roles'. The female voice is low, singing at the highest possible range for a male voice. In the 2009-2010 season, Susan Graham sang the role of a male in Der Rosenkavalier at the Metropolitan Opera in New York City.
Michael Crawford might be the best known West End and Broadway Phantom, and Gerard Butler also performed the role, on film.
A breeches role, trouser role or hosenrolle is a term used to describe the role sung by a female which is truly the role of a young man or male teen.Read more, below.
Space Opera - role-playing game - happened in 1980.
Phatom of the opera
Peking Opera also known as the Beijing opera still follows traditional Chinese arts in stressing the meaning, rather than precise actions. Opera artists' goal is to make every performance exceptionally beautiful in every movement they will make. The performer's vocal techniques as well as rhythms and melodies vary depending on his or her thoughts and feelings adhering to basic, strict conventions that are based on real life experiences presented in an artistic and symbolic manner. Peking opera is a form of traditional Chinese theatre which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China. Peking opera is not actually a monolithic form, but rather a coalescence of many older forms. However, the new form also introduced its own innovations. The vocal requirements for all of the major roles were greatly reduced for Peking opera. The Chou, in particular, rarely has a singing part in Peking opera, unlike the equivalent role in Kunqu style. The melodies that accompany each play were also simplified, and are played with different traditional instruments than in earlier forms. Perhaps most noticeably, true acrobatic elements were introduced with Peking opera. The popularity of Peking opera has been attributed to the simplicity of the form, with only a few voices and singing patterns. This allowed anyone to sing the arias themselves. Beijing opera follows other traditional Chinese arts in emphasizing meaning, rather than accuracy. The highest aim of performers is to put beauty into every motion. Indeed, performers are strictly criticized for lacking beauty during training. Additionally, performers are taught to create a synthesis between the different aspects of Beijing opera. The four skills of Beijing opera are not separate, but rather should be combined in a single performance. One skill may take precedence at certain moments during a play, but this does not mean that other actions should cease. Much attention is paid to tradition in the art form, and gestures, settings, music, and character types are determined by long held convention. This includes conventions of movement, which are used to signal particular actions to the audience. bY: nATHALIE R. MAGAT
Peking Opera also known as the Beijing opera still follows traditional Chinese arts in stressing the meaning, rather than precise actions. Opera artists' goal is to make every performance exceptionally beautiful in every movement they will make. The performer's vocal techniques as well as rhythms and melodies vary depending on his or her thoughts and feelings adhering to basic, strict conventions that are based on real life experiences presented in an artistic and symbolic manner. Peking opera is a form of traditional Chinese theatre which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China. Peking opera is not actually a monolithic form, but rather a coalescence of many older forms. However, the new form also introduced its own innovations. The vocal requirements for all of the major roles were greatly reduced for Peking opera. The Chou, in particular, rarely has a singing part in Peking opera, unlike the equivalent role in Kunqu style. The melodies that accompany each play were also simplified, and are played with different traditional instruments than in earlier forms. Perhaps most noticeably, true acrobatic elements were introduced with Peking opera. The popularity of Peking opera has been attributed to the simplicity of the form, with only a few voices and singing patterns. This allowed anyone to sing the arias themselves. Beijing opera follows other traditional Chinese arts in emphasizing meaning, rather than accuracy. The highest aim of performers is to put beauty into every motion. Indeed, performers are strictly criticized for lacking beauty during training. Additionally, performers are taught to create a synthesis between the different aspects of Beijing opera. The four skills of Beijing opera are not separate, but rather should be combined in a single performance. One skill may take precedence at certain moments during a play, but this does not mean that other actions should cease. Much attention is paid to tradition in the art form, and gestures, settings, music, and character types are determined by long held convention. This includes conventions of movement, which are used to signal particular actions to the audience. bY: nATHALIE R. MAGAT
The male lead roles in operas typically called for high voices, and sometimes the castrato would play female leads as well
channing tatum plays the main male role in step up
Conductor .