A study of gender roles in Donizetti and Bizet "Mad Scenes"

The purpose of this study is to compare the gender roles evident in 19th-century opera “mad scenes” and ascertain if those roles differ in relation to gender. This study was conducted by examining a soprano “mad scene” from Gaetano Donizetti’s Lucia di Lammermoor, and a tenor “mad scene” from Georges Bizet’s Carmen. It was proposed that the political, social, and medical climate surrounding this period influenced the differences in composing for the female and male voice and this is evident in their classification, character, and compositional techniques. To ascertain these differences, an examination of central plot points, musical analysis, and character traits were included with each opera. After examination, the data collected from each opera was juxtaposed with the other. Between the two operas, many plot devices, compositional techniques, and character arcs were similar between the soprano and tenor “mad scenes” but the classification of the “mad scene” was not given to the tenor. This evidence collected suggests that although many similarities were made between both operas, because of the “hysterical” nature of a female “mad scene,” the male “mad scene” does not warrant the classification. The male “mad scene” is described as a display of overwhelming jealousy rather than a man succumbing to insanity because the object of his obsession does not conform to his desires. The researcher suggests that further analysis be done with other male “mad scenes” of the “bel canto” period to determine if outdated gender biases are evident in the classification of a “mad scene” within the operatic repertoire.Thesis (M.M.