Between 1850 and 1867, Carvalho created coloratura roles in sixteen operas, including five by Gounod: Marguerite in Faust, Baucis in Philémon et Baucis, Sylvie in La Colombe, the title role in Mireille, and Juliette in Roméo et Juliette. This chapter focuses on Carvalho’s Gounod creations, examining a little-known aria that Gounod wrote for Carvalho, “Ah! Valse légère,” based on the waltz chorus, “Ainsi que la brise légère,” from Faust. The aria’s popularity spurred a vogue for the vertiginous waltz ariette and established Carvalho as a truly modern soprano who wielded authority because of her prodigious vocal virtuosity. Carvalho associated herself with this aria-type, catalyzed it as a new genre, and propagated its popularity and significance. Her use of coloratura resonates with the increasing opulence and ornament in Second Empire France and Carvalho’s contributions as a créatrice encourage us to reconsider this period of opera history.
Roméo et Juliette ou l’amour hors la loi