Which female singing voice has a range between soprano and contralto?
"in a private studio or be affiliated with a college or university faculty. Students usually start vocal instruction after their voices have settled in later teen years. Part of the job of any voice teacher is to know a student's vocal characteristics sufficiently well to identify their voice type. Women are usually classified in one of three categories: soprano, mezzo-soprano, and contralto. Men's voices are divided into four categories: countertenor, tenor, baritone, and bass. However, more mature and experienced singers who have completed their professional training can usually benefit from ongoing vocal instruction. At this point it is often referred"
"Soprano A soprano is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C) = 261 Hz to ""high A"" (A) =880 Hz in choral music, or to ""soprano C"" (C, two octaves above middle C) =1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano. The word ""soprano"" comes"
"C). In the lower and upper extremes some contralto voices can sing from D3 (the D below middle C) to B5 (the second B-flat above), one whole step short of the soprano ""high C"". Contralto tessitura: The contralto voice has the lowest tessitura of the female voices. Contralto subtypes: Contraltos are often broken down into three subcategories: coloratura contralto, lyric contralto, and dramatic contralto. A soprano sfogato is a contralto who has an extended high range reaching the soprano ""high C"". Countertenor range: The countertenor is the highest male voice. Many countertenor singers perform roles originally written for a castrato"
"a tenor or bass. A woman who sings the tenor line is really a contralto when applied to the classical vocal type system, and a man who sings alto or soprano a countertenor or sopranist. That being said, non-classical singers can adopt some of the terms from both systems, but not all of them, when classifying their voices. The six-part structure of the operatic system is much preferable to the four-part choral system for non-classical singers because it has three sets of vocal ranges instead of two to choose from. Most people's voices fall within the middle categories of mezzo-soprano"
"are more descriptive of vocal timbre and vocal facility than simple vocal range. For example, one category of voice in opera is a contralto, which is the lowest female voice in the operatic system. One of the qualifying characteristics of this voice is a deep and dark quality to the vocal sound. This quality is not entirely innate to the voice, but is developed through classical vocal training. So although a singer in another genre might have a range equivalent to a contralto, they would not have a similar sound. “These differences in voice qualities are reflections on variation in"
"other three standard modern choral voice classifications (soprano, tenor and bass) was originally intended to describe a part within a homophonic or polyphonic texture, rather than an individual voice type; neither are the terms alto and contralto interchangeable or synonymous, though they are often treated as such. Although some women who sing alto in a choir are contraltos, many would be more accurately called mezzo-sopranos (a voice of somewhat higher range and different timbre), and many male countertenors (this latter term is a source of considerable controversy, some authorities preferring the usage of the term ""male alto"" for those countertenors"
"used to identify different sub-types within the voice, sometimes referred to as (sg. ""fach"", from German or , ""vocal category""). Within opera, particular roles are written with specific kinds of tenor voices in mind, causing certain roles to be associated with certain kinds of voices. Soprano A soprano is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C) = 261 Hz to ""high A"" (A) =880 Hz in choral music, or to ""soprano C"" (C, two octaves above"
"male singers, some women can sing as low (albeit with a slightly different timbre and texture than their male counterparts). Unfortunately, they are often erroneously referred to as ""female tenors"", ""female baritones"", ""female basses"" or ""androgynous."" In reality, such terms are usually derogatory informal (slang). Factual formal terminology would be ""contralto profundo"" (tenor) and ""contralto basso"" or ""oktavistka"" (baritone) but these are not traditionally named among the fach system. Some of the rare contraltos that can sing the female equivalent of tenor and baritone include Zarah Leander, Ruby Helder, and Bally Prell. The earliest cited role for the contralto is"
"such as Médée, Armida, Norma, Anna Bolena, Amina, Abigaille and Lady Macbeth. Other roles associated with this voice type are Elisabetta in ""Roberto Devereux"", Gemma di Vergy, Reiza in Carl Maria von Weber's ""Oberon"". The common requirements for the roles associated with this voice type are: The major exponents of the ""soprano sfogato"" vocal type were able to sing both soprano and contralto roles: Giuseppina Ronzi de Begnis was the first Elisabetta in ""Devereux"", and she also performed Bellini's Romeo as well as Norma; Isabella Colbran sang both Armida and Desdemona in Rossini's ""Otello"" as well as the contralto role"
"traditionally accepted to be that of the Saracen princess Clorinde in André Campra's 1702 opera ""Tancréde"", and most famously performed by (and was originally written for) Julie d'Aubigny. Within the contralto voice type category are three generally recognized subcategories: coloratura contralto, lyric contralto, and dramatic contralto. These subtypes do not always apply with precision to individual singers; some exceptional dramatic contraltos, such as Ernestine Schumann-Heink and Sigrid Onégin, were technically equipped to perform not only heavy, dramatic music by the likes of Wagner but also florid compositions by Donizetti. The coloratura contralto has a light, agile voice ranging very high"
"otherwise heavier role. Otherwise full lyric sopranos need be judicious with spinto and other heavy roles to prevent vocal deterioration. Source: Notes Sources Lyric soprano A lyric soprano is a type of operatic soprano voice that has a warm quality with a bright, full timbre that can be heard over an orchestra. The lyric soprano voice generally has a higher tessitura than a soubrette and usually plays ingenues and other sympathetic characters in opera. Lyric sopranos have a range from approximately middle C (C) to ""high D"" (D). This is the most common female singing voice. There is a tendency"
"from the Italian word ""sopra"" (which means above), as the soprano is the highest pitch human voice, often given to the leading female roles in operas. ""Soprano"" refers mainly to women, but it can also be applied to men; ""sopranist"" is the term for a male countertenor able to sing in the soprano voice range, while a castrato is the term for a castrated male singer, typical of the 16th, 17th, and 18th centuries, and a treble is a boy soprano who has not reached puberty yet and still able to sing in that range. The term ""soprano"" is also"
"Lyric soprano A lyric soprano is a type of operatic soprano voice that has a warm quality with a bright, full timbre that can be heard over an orchestra. The lyric soprano voice generally has a higher tessitura than a soubrette and usually plays ingenues and other sympathetic characters in opera. Lyric sopranos have a range from approximately middle C (C) to ""high D"" (D). This is the most common female singing voice. There is a tendency to divide lyric sopranos into two groups: light and full. A light-lyric soprano has a bigger voice than a soubrette but still possesses"
"capable of fast vocal coloratura. Lyric coloraturas have a range of approximately middle C (C) to ""high F"" (F). Such a soprano is sometimes referred to as a soprano leggero if her vocal timbre has a slightly warmer quality. The soprano leggero also typically does not go as high as other coloraturas, peaking at a ""high E"" (E). Bel canto roles were typically written for this voice, and a wide variety of other composers have also written coloratura parts. Baroque music, early music and baroque opera also have many roles for this voice. A coloratura soprano with great flexibility in"
"German or , ""vocal category""). A singer's tessitura is where the voice has the best timbre, easy volume, and most comfort. Within the soprano voice type category are five generally recognized subcategories: coloratura soprano, soubrette, lyric soprano, spinto soprano, and dramatic soprano. The coloratura soprano may be a lyric coloratura or a dramatic coloratura. The lyric coloratura soprano is a very agile light voice with a high upper extension capable of fast vocal coloratura. Light coloraturas have a range of approximately middle C (C) to ""high F"" (""in alt"") (F) with some coloratura sopranos being able to sing somewhat lower"
"soprano to the low notes of a bass, had one of the widest vocal ranges, being able to emit notes from the tessitura of sopranino, soprano, mezzo-soprano, contralto, tenor, baritone and bass, was the only person able to do the triple coloratura or the trill of the birds. Her range ranged from Si to Re. In the song ""K'arawi"" she sang from a sol2 (00:15) to a Re8 (00:26). This song covers 5 octaves and 5 notes. In the song ""Chuncho"" she sang from a si1 (at minute 0:40) to a Re7 (at minute 2:56). In this live she performs"
"mezzo-soprano with a range spanning from C to B. However Classic FM state she is often mistaken for a contralto due to the application of a tense chest mix to achieve her lower notes, whilst also noting that her voice becomes its clearest as she ascends the register, particularly from C to C. ""Rolling Stone"" reported that following throat surgery her voice had become ""palpably bigger and purer-toned"", and that she had added a further four notes to the top of her range. Initially, critics suggested that her vocals were more developed and intriguing than her songwriting, a sentiment with"
"who use a predominantly falsetto voice production). The contralto voice is a matter of vocal timbre and tessitura as well as range, and a classically trained solo contralto would usually have a range greater than that of a normal choral alto part in both the upper and lower ranges. However, the vocal tessitura of a classically trained contralto would still make these singers more comfortable singing in the lower part of the voice. A choral non-solo contralto may also have a low range down to D (thus perhaps finding it easier to sing the choral tenor part), but some would"
"to a high D6. Any individual's voice can perform over a range of one and a half to more than two octaves. Vocal ranges are grouped into overlapping types that each span about two octaves. Many singers fall between groups and can perform some parts in either type. Soprano range: The soprano is the highest singing voice. The typical soprano voice lies between C4 (middle C) and C6 (""high C""). The low extreme for sopranos is roughly A3 (just below middle C). Most soprano roles do not extend above C6 although there are several standard soprano roles that call for"
"contralto roles in Paris (at the Théâtre-Italien) as well as in Brussels, Berlin, Moscow, St Petersburg, and various theatres in Great Britain. In 1861, she married the Austrian bass Eugen Kuhn, who performed under the name Eugenio Cosselli. She died in childbirth at the age of 36 in her native city. Carlotta Marchisio Carlotta Marchisio (8 December 1835 – 28 June 1872) was an Italian operatic soprano and one of Rossini's favorite singers. Her voice was noted for its agility and beautiful timbre. She was born in Turin into a family of musicians. Her elder sister, Barbara Marchisio was a"
"female roles and early Verdi. This is a rare vocal fach, as thick vocal cords are needed to produce the large, dramatic notes, which usually lessens the flexibility and acrobatic abilities of the voice. In rare instances, some coloratura sopranos are able to sing ""in altissimo"" above high F (F). This type of singer is sometimes referred to as a ""soprano acuto sfogato"". Although both lyric and dramatic coloraturas can be acuto sfogato sopranos, the primary attribute of the acuto sfogato soprano is an upper extension above F. Some pedagogues refer to these extreme high notes as the whistle register."
"vocalist? It's because she has got a unique voice of great compass from contralto (overrides male baritone) to soprano (they say, with this rare and uncommon voice, one can be admitted to the Moscow Conservatory without entrance examinations) and withal she is a brilliant growler and added to everything else, she is ""one of the first female growling vocalists in the world"" . She got jazz and some classical educations and as she said herself, it helped her to find her own way of singing death metal applying some jazz tricks; by the way it helps her in creating music."
"Tenore contraltino The tenore contraltino is a specialized form of the tenor voice found in Italian opera around the beginning of the 19th century, mainly in the Rossini repertoire, which rapidly evolved into the modern 'Romantic' tenor. It is sometimes referred to as ""tenor altino"" (or ""contraltino"") in English books. It is a type of tenor voice with a compass not much wider than that of the coeval baritenor, but able to sustain far higher tessiture. It means that the basic range remained substantially the classic one, from C to C: only the best baritenors, however, were able to reach"
"sometimes sing in the ""female"" vocal ranges, in which case they are termed sopranist or countertenor. The countertenor is commonly encountered in opera, sometimes singing parts written for castrati—men neutered at a young age specifically to give them a higher singing range.) Singers are then further classified by size—for instance, a soprano can be described as a lyric soprano, coloratura, soubrette, spinto, or dramatic soprano. These terms, although not fully describing a singing voice, associate the singer's voice with the roles most suitable to the singer's vocal characteristics. Yet another sub-classification can be made according to acting skills or requirements,"
"and may have a somewhat darker timbre. Spinto sopranos have a range from approximately from B (B) to ""high D"" (D). A dramatic soprano (or ""soprano robusto"") has a powerful, rich, emotive voice that can sing over a full orchestra. Usually (but not always) this voice has a lower tessitura than other sopranos, and a darker timbre. Dramatic sopranos have a range from approximately A (A) to ""high C"" (C). 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"
"intervals. In her later years her voice was described as a ""burnished contralto"" and as her voice deepened with age her lower register was described as having ""shades from a gruff baritone into a rich, juicy contralto"". Her use of her contralto register was likened to ""dipping into a deep, mysterious well to scoop up a trove of buried riches."" Musicologist Henry Pleasants noted, ""Vaughan who sings easily down to a contralto low D, ascends to a pure and accurate [soprano] high C."" Vaughan's vibrato was described as ""an ornament of uniquely flexible size, shape and duration,"" a vibrato described"
"mezzo soprano voice with excellent range"", with some performances being cited as ""riveting"" and holding ""center stage commandingly"". • Zerlina (""Don Giovanni"") • Dorabella (""Così fan tutte"") • Stefano (""Roméo et Juliette"") • Pauline (""Pique Dame"") • Romeo (""I Capuleti e i Montecchi"") • Meg Page (""Falstaff"") • Suzuki (""Madama Butterfly"") • Carmen (""Carmen"") • Octavian (""Der Rosenkavalier"") • Composer (""Ariadne auf Naxos"") • Elizabeth Proctor (""The Crucible"") • Messiah (""Handel"") • Requiem (""Mozart"") • Christmas Oratorio (""Camille Saint-Saëns"") • Die Geburt Christi (""Herzogenberg"") • Voices of Light (""Einhorn"") Michele Detwiler Mezzo-soprano Michele Detwiler (born 1976 in California) is an"
"and other sympathetic characters in opera. Lyric sopranos have a range from approximately below middle C (C) to ""high D"" (D). The lyric soprano may be a light lyric soprano or a full lyric soprano. The light lyric soprano has a bigger voice than a soubrette but still possesses a youthful quality. The full lyric soprano has a more mature sound than a light-lyric soprano and can be heard over a bigger orchestra. Also lirico-spinto, Italian for ""pushed lyric"", the spinto soprano has the brightness and height of a lyric soprano, but can be ""pushed"" to dramatic climaxes without strain,"
"For women: soprano, mezzo-soprano, and contralto. For men: tenor, baritone, and bass. Within choral music there are only four categories for adult singers. First, for women: soprano and alto, and for men: tenor and bass. Within England, the term ""male alto"" is used to refer to a man who uses falsetto vocal production to sing in the alto section of a chorus. This practice is much less common outside of the UK where the term countertenor is more often applied. Countertenors are also widely employed within opera as solo vocalists. The term male alto is never used to refer to"
"Montserrat Caballé María de Montserrat Viviana Concepción Caballé i Folch (; 12 April 1933 – 6 October 2018) was a Spanish operatic soprano. She sang a wide variety of roles, but is best known as an exponent of the works of Verdi and of the bel canto repertoire, notably the works of Rossini, Bellini, and Donizetti. She was noticed internationally when she stepped in for a performance of Donizetti's ""Lucrezia Borgia"" at Carnegie Hall in 1965, and then appeared at leading opera houses. Her voice was described as pure but powerful, with superb control of vocal shadings and exquisite pianissimo."
"middle C (C) to ""high D"" (D). The voice has a lighter vocal weight than other soprano voices with a brighter timbre. Many young singers start out as soubrettes but as they grow older and the voice matures more physically they may be reclassified as another voice type, usually either a light lyric soprano, a lyric coloratura soprano, or a coloratura mezzo-soprano. Rarely does a singer remain a soubrette throughout her entire career. The tessitura of the soubrette tends to lie a bit lower than the lyric soprano and spinto soprano. The soubrette roles are typically found in comic operas"
"for the classification and atypically maintains extensive coloratura and high sustaining notes, specializing in florid passages and leaps. Given its deviations from the classification's norms, this voice type is quite rare. The lyric contralto voice is lighter than a dramatic contralto but not capable of the ornamentation and leaps of a coloratura contralto. This class of contralto, lighter in timbre than the others, is the most common today and usually ranges from the E below middle C (E) to the second G above middle C (G). The dramatic contralto is the deepest, darkest, and heaviest contralto voice, usually having a"
"performance, a singer's extension is all notes that are a part of the singer's vocal range that lie outside the singer's tessitura. This usually include notes that a singer can hit, but doesn't use on a regular basis. For example, a coloratura soprano regularly, as defined by range, will sing in the whistle register. A standard mezzo-soprano has a range to the high F or G above middle C, however a mezzo with good head voice extension can rival the coloratura soprano in range. However, since her normal tessitura is mezzo-soprano (or under Soprano C), her abilities in the whistle"