VOCAL TECHNIQUE AND INTERPRETATION IN GEORGE GERSHWIN’S MUSICALS

Abstract

George Gershwin’s musical theatre works are considering a phase of trasformations in order to find new ways of musical expression that reflect the american culture at the begining of the XXth century. This work is suggesting tree possible vocal types that could apply to some of the female main characters (Susie Trevor from Lady, Be Good!, Frankie Wynne from Funny Face, Lady Kay from Oh, Kay!, Ann Wainwright from Treasure Girl and Rosalie from Rosalie) from a technical and interpretational perspective. Those vocal types are based on the characteristics of the score and of the interpretation of the first interpreter of the role.