* The Christmas Night 45-50—Oxana's Aria.
* The Golden Cockerel 131-136—Aria of Queen Shémakhâ.
Doubling voices in the orchestra.
Melodic doubling of voices by orchestral instruments (in unison or octaves) is of frequent occurrence, but incessant duplication for an extended period of time should be avoided; it is only permissible in isolated phrases. The most natural duplication in unison of womens' voices is performed by violins, violas, clarinets and oboes; that of mens' voices by violas, 'cellos, bassoons and horns. Doubling in octaves is usually done in the upper register. Trombones and trumpets overpower the voice and cannot be used for this purpose. Uninterrupted or too frequent duplication should be avoided, not only because the operation deprives the singer of full freedom of expression, but also because it replaces by a mixed timbre the rare characteristic qualities of the human voice. Doubling, when limited to a few special phrases supports the voice and endows it with beauty and colour. It is only suitable in tempo; to apply it, in unison or octaves to a passage ad. lib. is both ineffective and dangerous.
Examples:
Snegourotchka 50-52—Snegourotchka's Arietta (cf. [Ex. 41]).
Sadko 309-311—Volkhova's Cradle-song (cf. [Ex. 81]).
Besides the question of doubling the voice for the object of colour there are instances when the singer executes only part of a phrase, allotted in its entirely to an orchestral instrument.
Example:
Vera Scheloga 30, 36 (cf. [Ex. 49]).