Soprano - Types and Roles in Opera

Types and Roles in Opera

In opera, the tessitura, vocal weight, and timbre of soprano voices, and the roles they sing, are commonly categorized into voice types, often called fächer (sg. fach, from German Fach or Stimmfach, "vocal category"). A singer's tessitura is where the voice has the best timbre, easy volume, and most comfort. For instance a soprano and a mezzo-soprano may have a similar range, but their tessituras will lie in different parts of that range.

The low extreme for sopranos is roughly B♭3 or A3 (just below middle C). Within opera, the lowest demanded note for sopranos is A♭3 ("Ich Gehe, Doch Rate Ich Dir", from Mozart's Abduction From The Seraglio). Often low notes in higher voices will project less, lack timbre, and tend to "count less" in roles (although some Verdi, Strauss and Wagner roles call for stronger singing below the staff). However, rarely is a soprano simply unable to sing a low note in a song within a soprano role.

The high extreme, at a minimum, for non-coloratura sopranos is "soprano C" (C6 two octaves above middle C), and many roles in the standard repertoire call for C♯6 or D6. A couple of roles have optional E♭6’s, as well. In the coloratura repertoire several roles call for E♭6 on up to F6. In rare cases, some coloratura roles go as high as G6 or G♯6, such as Mozart's concert aria "Popoli di Tessaglia", or the role of Dinorah in Meyerbeer's opera Le pardon de Ploërmel. While not necessarily within the tessitura, a good soprano will be able to sing her top notes full-throated, with timbre and dynamic control.

The following are the operatic soprano classifications (see individual articles for roles and singers):

Read more about this topic:  Soprano

Other articles related to "types and roles in opera":

soprano" class="article_title_2">Types and Roles in Opera - Dramatic Soprano
... Some dramatic sopranos, known as Wagnerian sopranos, have a very big voice that can assert itself over an exceptionally large orchestra (over eighty pieces) ... These voices are substantial and very powerful and ideally even throughout the registers ...

Famous quotes containing the words types and, opera, types and/or roles:

    The bourgeoisie loves so-called “positive” types and novels with happy endings since they lull one into thinking that it is fine to simultaneously acquire capital and maintain one’s innocence, to be a beast and still be happy.
    Anton Pavlovich Chekhov (1860–1904)

    Are you suggesting that we reopen the Opera with a murder as an added attraction?
    Eric Taylor, Leroux, and Arthur Lubin. Lecours (Fritz Feld)

    If there is nothing new on the earth, still the traveler always has a resource in the skies. They are constantly turning a new page to view. The wind sets the types on this blue ground, and the inquiring may always read a new truth there.
    Henry David Thoreau (1817–1862)

    Productive collaborations between family and school, therefore, will demand that parents and teachers recognize the critical importance of each other’s participation in the life of the child. This mutuality of knowledge, understanding, and empathy comes not only with a recognition of the child as the central purpose for the collaboration but also with a recognition of the need to maintain roles and relationships with children that are comprehensive, dynamic, and differentiated.
    Sara Lawrence Lightfoot (20th century)