Top 10 Roles Every Mezzo Soprano Wants

Sure, everyone knows and loves the main couple in a Rodgers and Hammerstein musical. But real fans know that the B couple is where it’s at, particularly if you’re a mezzo soprano performing in “Oklahoma!” Ado Annie is one of the funnier roles the duo ever conceived, a flirtatious gal who can’t decide between two very different men. Besides her comic chops, she’s got two incredible songs, a solo called “I Cain’t Say No” and a duet called “All Er Nuthin.” Annie imbues “Oklahoma!” with life and charm, and she’s a belter to boot.

If you want to perform in “West Side Story,” you’d better hope that you’re a real triple threat. Acting, dancing, and singing at a top level are all heavy requirements for this show. But the hardest (and most desirable) role in the entire show has got to be Anita. Anita is such a great role that even if you aren't a mezzo soprano, you’re probably willing to lie and say you are. In addition to her amazing dancing and singing showcases, Anita has the most fully-formed arc of any character in the show.

If you’re looking for a role where practically every song you sing eventually became a standard, have we got the show for you! We guess that’s what happens when you’re composed by Irving Berlin. “Annie Get Your Gun” is based on the life of real life sharpshooter Annie Oakley, and features a stunning score from Berlin. If you’re cast in the role of Annie, you get to sing famous songs such as “You Can’t Get a Man With a Gun” and “I Got the Sun in the Morning.” Those are only two of the delightful tunes that Berlin wrote for this gunslinging ingenue. Trust us, every mezzo wants to hit the bull’s eye with this role.

If Sutton Foster had a go at a role, you can usually bet it’s perfect for a mezzo soprano. Her turn as Millie Dillmount in “Thoroughly Modern Millie” definitely got all the mezzos in a tizzy. But today, we’re taking a look at another Sutton role that’s full of belts and tap dancing. The role of Reno Sweeney in “Anything Goes” has been played by numerous famous belters throughout the years. From Ethel Merman, to Patti LuPone to Elaine Paige, and so on, this cruise ship nightclub singer is coveted by mezzos everywhere.

She might be a princess, but make no mistake, Belle is no wilting flower. She has one of the most powerful belts of any Broadway baby, and out of all the Disney-turned-Broadway princesses, she’s the one mezzos want. If you’re lucky enough to play Belle in the musical, you’ll be able to sing all your favorite songs from the 1991 film. But there are also a few new favorites that shoot the musical score past that of the movie. In particular, the power ballad “Home” is a gorgeous tune, and one that every mezzo soprano worth her salt has been auditioning with for years.

If you get the chance to sing one of Stephen Sondheim’s greatest songs, you better take it. Based on an Ingmar Bergman film, “A Little Night Music” debuted on Broadway in 1973, and follows the romantic entanglements of several people. One of those people is Desiree Armfeldt, an actress past the prime of her career. Desiree has only a few songs, but one stands out from the crowd and is a treasure for any mezzo soprano to sing. “Send in the Clowns” has become such a standard that it’s hard to remember sometimes that it’s from this musical. When sung in the context of Desiree’s story, the song becomes that much more powerful.

Here we’ve got not one, but two amazing roles! “Sunday in the Park with George” is arguably Stephen Sondheim’s greatest achievement and includes one of the best chances for a singing actress as well. In the first act of the show, Dot is George Seurat’s muse who ends up leaving him when he can’t commit to her fully. In the second, Marie is Seurat’s daughter and grandmother to a different artist. Both women are played by the same person, a fine challenge for any actress willing to take it on. And with that challenge comes stunning songs.

Talk about a swan song, literally. “Into the Woods” is a Stephen Sondheim musical based on the classic fairy tales you know and love, but with a dark twist in the second act. The Baker and the Baker’s Wife are two of our main characters, at first desperate for a child and then unsure how to raise that child. Although the Baker’s Wife ends up dying in the middle of the second act, she makes a huge impression with the time she’s given. In particular, “Moments in the Woods,” sung right before she dies, is one to remember.

Life is a cabaret old chum! Especially when you’re a mezzo soprano who gets the chance to play Sally Bowles in “Cabaret.” This landmark musical revolves around a nightclub called the Kit Kat Klub, but is really about the rise of the Nazis before World War II. Sally isn’t necessarily supposed to be the greatest singer in the world, but that’s part of what makes the role so rich to perform. As facism grows around Sally and she continues to ignore it, the show becomes darker and more brutal. The song “Cabaret,” with its good-time lyrics, isn’t really supposed to be a good time at all. And a great actress and singer will find those levels.

Before we unveil our top pick, here are a few honorable mentions.

Cathy, “The Last Five Years” (2002)
When You Get to Sing Half the Songs Alone, That’s a Good Role

Roxie Hart, “Chicago” (1975)
The Name on Everybody’s Lips Is Gonna Be Roxie

Éponine, “Les Misérables” (1985)
She Steals the Second Act

Kim, “Miss Saigon” (1989)
A Strong Mezzo-Soprano Performance

Sonya Rostova, “Natashia, Pierre & The Great Comet of 1812” (2016)
Sonya Belts Her Way to the Top

Perhaps the most famous brassy belter part, Fanny Brice is a role that every young mezzo soprano dreams of playing. “Funny Girl,” with the help of one Barbra Streisand, brought the story of Fanny Brice to life for the first time in 1964. Since then, every belter with a dream has been itching to play this role. There are so many amazing songs to sing in “Funny Girl.” From “I’m the Greatest Star” to “People” to the show-stopping “Don’t Rain on My Parade,” Fanny gets the chance to sing her heart out at every turn.

If we missed any of your favorite mezzo-soprano roles, let us know in the comments below.