This article expands our knowledge of the inception of the opera, L’amour de loin, by introducing primary documents from the as-yet uncatalogued Kaija Saariaho Sammlung (KSS) at the Paul Sacher Stiftung in Basel, Switzerland. It then focuses on the development of the vocal part for Clémence that resulted in two versions of the role, one for coloratura and one for a lyric soprano, and situates the revision Saariaho undertook with soprano Dawn Upshaw in the historical tradition of operatic collaboration. Finally, I interpret the two versions of Clémence through the lens of operatic vocal Fach to determine how those different characterizations might affect an audience member’s experience of the opera. I argue that the iterations of Clémence’s two largest set pieces are so different that one could speak of two discrete versions of L’amour de loin in which different heroines are envoiced.

中文翻译：

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在 L'amour de loin 中为 Clémence 作曲

本文介绍了来自瑞士巴塞尔 Paul Sacher 基金会尚未编入目录的 Kaija Saariaho Sammlung (KSS) 的主要文件，从而扩展了我们对歌剧《L'amour de loin》起源的了解。然后它专注于 Clémence 的声乐部分的发展，从而产生了两个版本的角色，一个是花腔女高音，一个是抒情女高音，并将 Saariaho 与女高音 Dawn Upshaw 进行的修订置于歌剧合作的历史传统中。最后，我通过歌剧声乐法赫的镜头解读克莱蒙丝的两个版本，以确定这些不同的特征如何影响观众对歌剧的体验。