This thesis compares six tragic female roles from the operas of Giacomo Puccini and
Richard Wagner, two of the most influential composers of late Romanticism in Italy and
Germany, respectively. The focus lies on the exploration of two central archetypes: the
victim and the redeemer. The interpretation of these characters is shaped not only by
their external circumstances but also by their personality traits and inner emotional
stances. The archetypes are delineated through a set of defining psychological
characteristics. In this context, Puccini’s heroines are predominantly identified with the
victim archetype, while Wagner’s embody the redeemer—though this categorization is
not absolute, as elements of both archetypes can coexist within a single character. The
differing artistic and ideological foundations of the two composers are examined.
Puccini, though often associated with late Romanticism, is more accurately placed
within the verismo movement, given the realistic—even naturalistic—quality of most of
his operatic narratives. Wagner, on the other hand, represents the full expression of
German late Romanticism, characterized by mythological and epic themes and heavily
influenced by contemporary German philosophy. The contents of the selected operas are
summarized and the featured roles are analyzed in depth: Mimì from La Bohème,
Elisabeth from Tannhäuser, Cio-Cio-San from Madama Butterfly, Senta from Der
fliegende Holländer (The Flying Dutchman), Tosca from Tosca, and Brünnhilde from
Götterdämmerung (Twilight of the Gods). Particular attention is paid to the characters’
psychological development, inner conflicts, and the ways these inform vocal
interpretation and stage embodiment. This work may serve as both a theoretical
framework and a practical guide for further exploration of the psychological and
performative dimensions of operatic roles.
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