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	'''Voice type''' (equivalent to the German '']'' and similar Italian and French categorizations) is a system for categorizing ] and ] solo ], and the roles they sing, by the ], ] and ] of their unamplified voices in an opera house or concert hall.		'''Voice type''' (equivalent to the German '']'' and similar Italian and French categorizations) is a system for categorizing ] and ] solo ], and the roles they sing, by the ], ] and ] of their unamplified voices in an opera house or concert hall.

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	A note on vocal range vs. tessitura: ] singers are classified into voice parts based on ]; solo singers are classified into voice types based in part on ] – where the voice feels most comfortable for the majority of the time.		A note on vocal range vs. tessitura: ] singers are classified into voice parts based on ]; solo singers are classified into voice types based in part on ] – where the voice feels most comfortable for the majority of the time.
	Following is a list of types, with representative examples of roles and singers:<br>		Following is a list of types, with representative examples of roles and singers:<br>
	(For more roles and singers, see the individual voice type pages.)		(For more information and roles and singers, see the individual voice type pages.)

	==Female voices==		==Female voices==
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	Soprano ]:<br>		Soprano ]:<br>
	The low extreme for sopranos is roughly B3 or A3 (just below middle C). The high extreme: at a minimum, non-coloratura sopranos have to reach "soprano C" (C6, two octaves above middle C), and many roles in the standard repertoire call for D6 or D-flat6.		The low extreme for sopranos is roughly B3 or A3 (just below middle C). The high extreme: at a minimum, non-coloratura sopranos have to reach "soprano C" (C6, two octaves above middle C), and many roles in the standard repertoire call for D6 or D-flat6. Sopranos are often divided into different sub-categories based on range, vocal color or timbre, the weight of voice, and dexterity of the voice. These sub-categories include: ''']''', ''']''', ''']''',''']''', and ''']'''.
	*Coloratura sopranos: ] describes a style of vocal embellishment, as well as the voices able to perform them.

			===Intermediate Voice Types===
	:*'''Lyric coloratura soprano''' – A very agile voice with a high upper extension, capable of fast vocal ]. ] roles were typically written for this voice, and a wide variety of other composers have also written ] parts. ], ] and ] also frequently have roles for this voice.
			Two types of soprano especially dear to the French are the '']'' and the '']'', which are intermediate voice types between the soprano and the ]: a Dugazon is a darker-colored soubrette, a Falcon a darker-colored soprano drammatico. <ref>http://pioneer2.aaps.k12.mi.us/choir/voiceclass.html#Soprano</ref>
	::Roles include ''Gilda'' in '']'', ''Olympia'' in '']'' and Delibes’ '']''.
	::Singers include ], ], ], ], and ], ] Mado Robin and Erna Sack.

		⚫	:Singers include ] and ] (Falcon examples)
	:*'''Dramatic coloratura soprano''' – A coloratura soprano with a large voice which can sustain fast ] at full volume and sing over an orchestra, but does not necessarily have the upper extension of a lyric coloratura soprano.
	::Roles include ''Donna Anna'' in '']'', Bellini’s '']'', and ''Violetta'' in '']''.
	::Singers include ], ], ], ] and ].

	*''']''' - A light voice with a bright, sweet ] and a ] in the mid-range. In opera, this voice often plays comedic, saucy, but likable characters, and some soubrettes can also sing lyric coloratura roles such as Gilda or Norina. In addition, ], ] and ], as well as many ], all call for this kind of beautiful, light voice. Soubrette roles in turn may be performed by light lyric and lyric coloratura voices, and sometimes by ]s as well.
	:Roles include ''Susanna'' in '']'' , "Despina" in ], and ''Musetta'' in '']''.
	:Singers include ], ], ] and ].

	*'''Lyric soprano''' - A warm voice with a bright, full ] which can be heard over an orchestra. It generally has a higher ] than a ] and usually plays ]s and other sympathetic characters in opera. There is a tendency to divide lyric sopranos into two groups:

	:*Light lyric - Light lyrics often have a “full package” of musicianship, appearance and stagecraft. This voice needs to be careful in its repertory choices, because smaller houses may offer them meatier (especially ]) roles if they have good stage presence. Then as they become successful, if they take these heavier roles into larger houses they will damage their voices. There are a wide variety of roles written for this voice, and they may sing ], ] and other light roles as well.
	::Roles include ''Juliette'' in '']'', ''Pamina'' in '']'', ''Micaëla'' in '']'' and Massenet's '']''.
	::Singers include ], ], ], ] and ].

	:*Full lyric - Some full lyrics may have a more mature sound than light lyrics, making them less suitable for some of the lighter roles. Occasionally a full lyric will have a big enough voice that she can take on much heavier roles, using ] in place of ]. This is done when a more lyric ] is desired in an otherwise heavier role. Otherwise full lyric sopranos need be judicious with ] and other heavy roles to prevent vocal deterioration.
	::Roles include ''The Contessa'' in '']'' and ''Mimì'' in '']''.
	::Singers include ], ], ], ], ] and ].

	*'''] soprano''' - Also '''lirico-]''', Italian for "pushed lyric". It has the brightness and height of a lyric soprano, but can be "pushed" to dramatic climaxes without strain, and may have a somewhat darker ]. It generally uses '']'' to "slice" though a full orchestra (rather than singing over it like a dramatic soprano). It also handles ] very well. The spinto repertoire includes many ], ] and ] roles, some of which are very popular in opera. The fact that spinto sopranos are uncommon means that these popular roles are often performed by singers from other ''fächer'', and more than a few lyric sopranos have damaged their voices singing spinto roles.
	:Roles include Verdi’s '']'', Puccini’s '']'' and ''The Marschallin'' in '']''.
	:Singers include ], ], ], and ].
	*'''Dramatic soprano''' - A powerful, rich voice that can sing over a full orchestra. Usually (but not always) this voice has a lower ] than other sopranos, and a darker ]. Used for ], ] women of opera.
	:Roles include ''Amelia'' in '']'', ''Sieglinde'' in '']'' and Puccini’s '']''.
⚫	:Singers include ], ], ].

	*'''Wagnerian soprano''' - A dramatic voice that can assert itself over a large orchestra (over eighty pieces); substantial, very powerful and even throughout the registers. Usually plays a mythic heroine. Successful Wagnerian sopranos are rare, only one or two appear in a generation.
	::Roles include ''Brünnhilde'' in '']'', ''Elektra'' in ], ''Isolde'' in ], ''Dyer's Wife'' in ] and ''Kundry'' in '']''.
	::Singers include ], ], ], and ].

	===]===		===]===
	Mezzo-soprano range: ] is a stricter requirement for ] than for opera singers. In fact, a mezzo-soprano's range can be the same as a ]’s; some mezzo roles call for the "soprano C" (C6), but the ] is lower.		Mezzo-soprano range: ] is a stricter requirement for ] than for opera singers. In fact, a mezzo-soprano's range can be the same as a ]’s; some mezzo roles call for the "soprano C" (C6), but the ] is lower.
			Mezzo-sopranos are often broken down into two categories: '''Lyric mezzo-soprano''' and '''Dramatic mezzo-soprano'''.

	In addition to singing traditional roles discussed below, mezzo-sopranos are also well represented in ], ] and ], as well as ], they are sometimes cast in ] roles if a more dramatic sound is desired, and some of the lower-tessitura ] roles can be sung by mezzos as well. Mezzo voices tend to be quite versatile and able to take on a variety of roles with success.

	*'''Lyric mezzo-soprano''' - A higher, and sometimes lighter mezzo voice. Can have a range up to or above high C (C6). Besides traditional lyric roles, ]s are often written for this voice. Lyric mezzos also sing mezzo ] roles, such as ]'s heroines and ] roles.
	:Coloratura roles include Rossini’s '']'' and ''Rosina'' in '']''
	:Lyric roles include ''Dorabella'' in '']'', ''Cherubino'' in '']'', ''Octavian'' in '']''.
	:Singers include ], ], ], ] and ].

	*'''Dramatic mezzo-soprano''' – A fuller, and often lower voice than a lyric mezzo. Can sing over an orchestra and chorus with ease.
	:Roles include ''Azucena'' in '']'', ''Amneris'' in '']'', ''Dalila'' in '']'', ''Brangäne'' in '']'', and ''Herodias'' in '']''.
	:Singers include ], ], ] and ].

	===''']'''/''']'''===		===''']'''/''']'''===

	Contralto is the lowest female operatic voice, usually with a deep and dark ]. True operatic contraltos are very rare.		Contralto is the lowest female operatic voice, usually with a deep and dark ]. True operatic contraltos are very rare.

	:Roles include ''Orfeo'' in '']'', ''Ulrica'' in '']'' and ''Erda'' in '']''.
	:Singers include ], ] and ].

	*] - Technically, "]" is only a separate category in ] where it refers simply to the ]. In current operatic practice, female singers with very low ]s are often included among ]s.		*] - Technically, "]" is only a separate category in ] where it refers simply to the ]. In current operatic practice, female singers with very low ]s are often included among ]s.
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	Haute-contre: from about D3 or E3 to about D5<br>		Haute-contre: from about D3 or E3 to about D5<br>

	These, and other similar terms, are used for the highest male voices, and singers designated by the first two of these terms often sing roles originally written for ] in ]s. Except for a few very rare voices (such as the American male soprano Michael Maniaci, or singers with a syndrome such as Kallmann's) singers called sopranist, male alto or countertenor generally sing in ], sometimes using their modal, speaking voice for the lowest notes. Historically, there is much evidence that "countertenor", in England at least, also designated a very high tenor voice, the equivalent of the French ''haute-contre'', and something similar to the "leggiero tenor". It should be remembered that until about 1830, all male voices used some falsetto-type voice production in their upper range.		These, and other similar terms, are used for the highest male voices, and singers designated by the first two of these terms often sing roles originally written for ] in ]s. Except for a few very rare voices (such as the American male soprano Michael Maniaci, or singers with a syndrome such as Kallmann's) singers called sopranist, male alto or countertenor generally sing in ], sometimes using their modal, speaking voice for the lowest notes. Historically, there is much evidence that "countertenor", in England at least, also designated a very high tenor voice, the equivalent of the French ''haute-contre'', and something similar to the "leggiero tenor". It should be remembered that until about 1830, all male voices used some falsetto-type voice production in their upper range.
	:Roles include Handel's '']'', ''Nerone'' in Monteverdi's '']'', ''Orfeo'' in Gluck's '']'', and ''Oberon'' in Britten's '']''.
	:Singers include ], ], ], ] (singing in the alto or mezzo-soprano range), Jörg Waschinski, Michael Maniaci (singing as sopranos), and ] (an ''haute-contre'').

	===]===		===]===
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	Tenor ]:<br>		Tenor ]:<br>
	The lowest note in the standard tenor repertoire is A2 (], ]), but few roles fall below C3 (one octave below middle C).<br>		The lowest note in the standard tenor repertoire is A2 (], ]), but few roles fall below C3 (one octave below middle C).<br>
	The high extreme: many tenor roles in the standard repertoire call for a "tenor C" (C5, one octave above middle C). In the ] repertoire the highest note is an F5 (''Arturo'' in '']''), though few singers will have this role in their repertoire.		The high extreme: many tenor roles in the standard repertoire call for a "tenor C" (C5, one octave above middle C). In the ] repertoire the highest note is an F5 (''Arturo'' in '']''), though few singers will have this role in their repertoire. Tenors are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include:
			'''Leggiero tenor''', '''Lyric tenor''', '''Spinto tenor''', '''Dramatic tenor''', and '''Heldentenor'''.


	*'''Leggiero tenor''' - The male equivalent of a lyric ] voice, this is an often light, and very agile tenor voice, capable of coloratura and able to sing notes above the tenor C.
	:Roles include ''Count Almaviva'' in '']'', ''Arturo'' in '']'', and ''Nemorino'' in '']''.
	:Singers include ], ] and ].

	*'''Lyric tenor''' - A strong yet not heavy voice.
	:Roles include ''Rodolfo'' in '']'', Massenet's '']'', and ''The Duke'' in '']''.
	:Singers include ], ], ], ] and ].

	*'''Spinto tenor''' - Heavier than a lyric and more dramatic.
	:Roles include ''Pinkerton'' in '']'', ''Canio'' in '']'', and ''Don José'' in '']''.
	:Singers include ] and ].

	*'''Dramatic tenor''' - A powerful, rich, heroic tenor.
	:Roles include ''Radamés'' in '']'', ''Samson'' in '']'' and ''Calaf'' in '']''.
	:Singers include ], ] and ].

	*'''Heldentenor''' - A rich, powerful, and dramatic voice. As its name implies, the Heldentenor vocal ''fach'' features in the German romantic operatic repertoire. The keystone of any heldentenor's repertoire is arguably Wagner's '']'', an extremely demanding role requiring a wide vocal range, great stamina, and extended dramatic suspension.
	::Roles include Wagner's '']'', ''Tristan'' in '']'', Wagner's '']'' and ''Floristan'' in '']''
	::Singers include ], ], ], ] and ].

	===]===		===]===
			The Baritone is the most common type of male voice. The vocal range of the baritone lies between the bass and tenor ranges, overlapping both of them. Music for this voice is typically written in the range from the second A below middle C to the F above middle C (i.e. A2-F4) in choral music, and to G above middle C (i.e. A2 - G4) in operatic music, though it can be extended at either end. Baritones are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include:], ], ], ], ], ], and].

	*'''Lyric baritone''' - High ] and lighter voice, quite often a comic character.
	:Roles include ''Papageno'' in '']'', ''The Count'' in '']'', ''Figaro'' in '']''.
	:Singers include ], ], ], ], ].

	*'''Dramatic baritone''' - Lower ] than a lyric, rich and full voice.
	:Roles include Verdi's '']'' and '']'', ''Iago'' in '']'' and ''Scarpia'' in '']''.
	:Singers include ], ], ].

	===] ===		===] ===
	*'''Bass-baritone''' - Also called "Heldenbaritone", a bass-baritone has the ] of a baritone but the lower range that is customary of a bass. Bass-baritones play a variety of roles, and frequently play either villainous characters, or regal older men.		'''Bass-baritone''' - Also called "Heldenbaritone", a bass-baritone has the ] of a baritone but the lower range that is customary of a bass. Bass-baritones play a variety of roles, and frequently play either villainous characters, or regal older men.
	:Roles include ''Duke Bluebeard'' in '']'', ''Wotan'' in '']'', ''Escamillo'' in '']'' and ''Figaro'' in '']''.
	:Singers include ], ], ], ], and ].

	===]===		===]===
	Base ]: from D2 ('']'s'' aria) to E4 ('']'' also has to sing an E4)		Base ]: from D2 ('']'s'' aria) to E4 ('']'' also has to sing an E4)

			A bass is a male singer who sings in the deepest vocal range. Basses are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include: ''']''', ''']''', '''] / ]''', ''']''', and ''']'''
	*'''Basso cantante''' - Has agility but also a deep tone.
	:Roles include ''Don Basilio'' in '']'', ''Leporello'' in '']'', Mussorgsky's '']'', ''Philip II'' in '']''.
	:Singers include ], ], ], ] and ].

	*'''Basso profondo''' - A rich and deep, extremely dark dramatic male bass voice. Operatic bassi profondi are rare, and these roles are sung by most operatic basses, with the possible exception of ''The Grand Inquisitor'' which should be vocally distinct from ''Phillip II'' in the '']'' ''bass duet''
	:Roles include ''Sarastro'' in '']'', ''Osmin'' in '']'' and ''The Grand Inquisitor'' in '']''.
	:Singers include ], ], ], ].

	==See also==		==See also==

Revision as of 14:15, 5 December 2007

Voice type
Female
Soprano Mezzo-soprano Contralto
Male
Countertenor Tenor Baritone Bass
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Voice type (equivalent to the German Fach and similar Italian and French categorizations) is a system for categorizing classical and operatic solo singers, and the roles they sing, by the tessitura, weight and timbre of their unamplified voices in an opera house or concert hall.

This classification system is a tool for singers, composers, venues, and listeners to categorize vocal properties, and to associate possible roles with potential voices. There have been times when this system has been used too rigidly, i.e. a house assigning a singer to a specific type, and only casting him or her in roles they consider belonging to this category.

A singer will ultimately choose a repertoire that suits their instrument. Some singers such as Enrico Caruso, Rosa Ponselle, Joan Sutherland, Maria Callas or Plácido Domingo have voices which allow them to sing roles from a wide variety of types; some singers such as Shirley Verrett or Grace Bumbry change type, and even voice part over their careers; and some singers such as Leonie Rysanek have voices which lower with age, causing them to cycle through types over their careers. Some roles as well are hard to classify, having very unusual vocal requirements; Mozart wrote many of his roles for specific singers who often had remarkable voices, and some of Verdi’s early works make extreme demands on his singers.

A note on vocal range vs. tessitura: Choral singers are classified into voice parts based on range; solo singers are classified into voice types based in part on tessitura – where the voice feels most comfortable for the majority of the time. Following is a list of types, with representative examples of roles and singers:
(For more information and roles and singers, see the individual voice type pages.)

Female voices

Soprano

Soprano range:
The low extreme for sopranos is roughly B3 or A3 (just below middle C). The high extreme: at a minimum, non-coloratura sopranos have to reach "soprano C" (C6, two octaves above middle C), and many roles in the standard repertoire call for D6 or D-flat6. Sopranos are often divided into different sub-categories based on range, vocal color or timbre, the weight of voice, and dexterity of the voice. These sub-categories include: Coloratura soprano, Soubrette, Lyric soprano,Spinto, and Dramatic soprano.

Intermediate Voice Types

Two types of soprano especially dear to the French are the Dugazon and the Falcon, which are intermediate voice types between the soprano and the mezzo soprano: a Dugazon is a darker-colored soubrette, a Falcon a darker-colored soprano drammatico.

Singers include Jessye Norman and Rosa Ponselle (Falcon examples)

Mezzo-soprano

Mezzo-soprano range: range is a stricter requirement for choral voices than for opera singers. In fact, a mezzo-soprano's range can be the same as a soprano’s; some mezzo roles call for the "soprano C" (C6), but the tessitura is lower. Mezzo-sopranos are often broken down into two categories: Lyric mezzo-soprano and Dramatic mezzo-soprano.

Contralto/Alto

Contralto is the lowest female operatic voice, usually with a deep and dark timbre. True operatic contraltos are very rare.

Alto - Technically, "alto" is only a separate category in choral music where it refers simply to the vocal range. In current operatic practice, female singers with very low tessituras are often included among mezzo-sopranos.

Male voices

Voices higher than tenor

Countertenor , Sopranist and Haute-contre

Vocal range for such voices (approximate)
Countertenor: from about G3 to E5 or F5
Sopranist: extend the upper range, some as high as E6 or F6
Haute-contre: from about D3 or E3 to about D5

These, and other similar terms, are used for the highest male voices, and singers designated by the first two of these terms often sing roles originally written for castrati in baroque operas. Except for a few very rare voices (such as the American male soprano Michael Maniaci, or singers with a syndrome such as Kallmann's) singers called sopranist, male alto or countertenor generally sing in falsetto, sometimes using their modal, speaking voice for the lowest notes. Historically, there is much evidence that "countertenor", in England at least, also designated a very high tenor voice, the equivalent of the French haute-contre, and something similar to the "leggiero tenor". It should be remembered that until about 1830, all male voices used some falsetto-type voice production in their upper range.

Tenor

Tenor range:
The lowest note in the standard tenor repertoire is A2 (Mime, Herod), but few roles fall below C3 (one octave below middle C).
The high extreme: many tenor roles in the standard repertoire call for a "tenor C" (C5, one octave above middle C). In the leggiero repertoire the highest note is an F5 (Arturo in I Puritani), though few singers will have this role in their repertoire. Tenors are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include: Leggiero tenor, Lyric tenor, Spinto tenor, Dramatic tenor, and Heldentenor.

Baritone

The Baritone is the most common type of male voice. The vocal range of the baritone lies between the bass and tenor ranges, overlapping both of them. Music for this voice is typically written in the range from the second A below middle C to the F above middle C (i.e. A2-F4) in choral music, and to G above middle C (i.e. A2 - G4) in operatic music, though it can be extended at either end. Baritones are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include:Lyric baritone, Bel Canto (coloratura) baritone, kavalierbariton, Dramatic baritone, Verdi baritone, baryton-noble, andBariton/Baryton-Martin.

Bass-baritone

Bass-baritone - Also called "Heldenbaritone", a bass-baritone has the tessitura of a baritone but the lower range that is customary of a bass. Bass-baritones play a variety of roles, and frequently play either villainous characters, or regal older men.

Bass

Base range: from D2 (Osmin's aria) to E4 (Osmin also has to sing an E4)

A bass is a male singer who sings in the deepest vocal range. Basses are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include: Basso cantante, Basso profondo, Basso Buffo / Bel Canto Bass, Basso Cantante, and Dramatic Bass

External links

http://pioneer2.aaps.k12.mi.us/choir/voiceclass.html#Soprano

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