Yes, this makes sense; that way, when you have an ensemble of singers they are
stacked in a similar order to the hypothetical chorus. I just did Verdi Requiem
and that's how the soloists are stacked in that score, mirroring the chorus
setup.
I can also say from my experience with something
For all the clients I have done operatic scores, it’s always been according to
the voices, not their roles. Sopranos, Altos, Tenors, Basses. If there
happens to be a chorus involved, ala SATB, I have always grouped them
separately, together, under the role voices.
HTH
Hi Robert,
I just asked my brother-in-law, who is an opera singer in Mannheim, for his
take on this, and he says as far as he knows it’s just a question of voice
type: high above low, with no preference given to the importance of the role.
Hope this helps.
Eric
Hello list,
I am interested to know if there is any particular convention around the
score order for vocal parts in an opera. Is it strictly by voice type, or
is there a preference given to principle vs. secondary parts? Or some other
convention I haven't thought of?
Thank you for any insights
