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Voice Types in Opera
Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic. -
Treble Voices in Choral Music
loft is shown by the absence of the con• gregation: Bach and Maria Barbara were Treble Voices In Choral Music: only practicing and church was not even in session! WOMEN, MEN, BOYS, OR CASTRATI? There were certain places where wo• men were allowed to perform reltgious TIMOTHY MOUNT in a "Gloria" and "Credo" by Guillaume music: these were the convents, cloisters, Legrant in 1426. Giant choir books, large and religious schools for girls. Nuns were 2147 South Mallul, #5 enough for an entire chorus to see, were permitted to sing choral music (obvious• Anaheim, California 92802 first made in Italy in the middle and the ly, for high voices only) among them• second half of the 15th century. In selves and even for invited audiences. England, choral music began about 1430 This practice was established in the with the English polyphonic carol. Middle Ages when the music was limited Born in Princeton, New Jersey, Timo• to plainsong. Later, however, polyphonic thy Mount recently received his MA in Polyphonic choral music took its works were also performed. __ On his musi• choral conducting at California State cue from and developed out of the cal tour of Italy in 1770 Burney describes University, Fullerton, where he was a stu• Gregorian unison chorus; this ex• several conservatorios or music schools dent of Howard Swan. Undergraduate plains why the first choral music in Venice for girls. These schools must work was at the University of Michigan. occurs in the church and why secular not be confused with the vocational con• compositions are slow in taking up He has sung professionally with the opera servatories of today. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
How to Read Choral Music.Pages
! How to Read Choral Music ! Compiled by Tim Korthuis Sheet music is a road map to help you create beautiful music. Please note that is only there as a guide. Follow the director for cues on dynamics (volume) and phrasing (cues and cuts). !DO NOT RELY ENTIRELY ON YOUR MUSIC!!! Only glance at it for words and notes. This ‘manual’ is a very condensed version, and is here as a reference. It does not include everything to do with reading music, only the basics to help you on your way. There may be !many markings that you wonder about. If you have questions, don’t be afraid to ask. 1. Where is YOUR part? • You need to determine whether you are Soprano or Alto (high or low ladies), or Tenor (hi men/low ladies) or Bass (low men) • Soprano is the highest note, followed by Alto, Tenor, (Baritone) & Bass Soprano NOTE: ! Alto If there is another staff ! Tenor ! ! Bass above the choir bracket, it is Bracket usually for a solo or ! ! ‘descant’ (high soprano). ! Brace !Piano ! ! ! • ! The Treble Clef usually indicates Soprano and Alto parts o If there are three notes in the Treble Clef, ask the director which section will be ‘split’ (eg. 1st and 2nd Soprano). o Music written solely for women will usually have two Treble Clefs. • ! The Bass Clef indicates Tenor, Baritone and Bass parts o If there are three parts in the Bass Clef, the usual configuration is: Top - Tenor, Middle - Baritone, Bottom – Bass, though this too may be ‘split’ (eg. 1st and 2nd Tenor) o Music written solely for men will often have two Bass Clefs, though Treble Clef is used for men as well (written 1 octave higher). -
Voice Types Are Soprano, Mezzo Soprano, Tenor and Baritone
The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. FEMALE VOCAL RANGE RANGE FEMALE EXAMPLES Highest Soprano Coloratura Soprano Lucia in Lucia di Lammermoor Lyric Soprano Violetta in La Traviata Dramatic Soprano Leonara in Il Trovatore Mezzo Soprano Coloratura Mezzo Rosina in The Barber of Seville Dramatic Mezzo Carmen in Carmen Lowest Contralto Katisha in The Mikado VOICE SOPRANO The highest of the female voice types, the soprano has always had a TYPES place of importance in the order of vocal types. In the operatic world, the soprano is almost always the ‘heroine’ or leading character within an opera. MEZZO SOPRANO The mezzo is the lower-ranged female voice type. Throughout opera history the mezzo has been used to convey many different types of characters: everything from boys or young men (these are called trouser or pants roles), to mother-types, witches, gypsies and old women. The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. MALE VOCAL RANGE RANGE MALE EXAMPLES Highest Tenor Light Lyric Tenor Nemorino in La Cenerentola Lyric Tenor Nadir in the Pearlfishers Lyric-dramatic Tenor Rodolfo in La Boheme Dramatic Tenor Canio in Pagliacci Heldentenor Tristan in Tristan und Isolde Baritone Papageno in The Magic Flute Bass-baritone Figaro in The Magic of Figaro VOICE Lowest Bass Sarastro in The Magic Flute TENOR The Tenor is the highest of the male voices and has many sub categories TYPES such as a lyric tenor and a dramatic tenor. The tenor is usually cast in the romantic roles of opera. -
Voice Dysphoria and the Transgender and Genderqueer Singer
What the Fach? Voice Dysphoria and the Transgender and Genderqueer Singer Loraine Sims, DMA, Associate Professor, Edith Killgore Kirkpatrick Professor of Voice, LSU 2018 NATS National Conference Las Vegas Introduction One size does not fit all! Trans Singers are individuals. There are several options for the singing voice. Trans woman (AMAB, MtF, M2F, or trans feminine) may prefer she/her/hers o May sing with baritone or tenor voice (with or without voice dysphoria) o May sing head voice and label as soprano or mezzo Trans man (AFAB, FtM, F2M, or trans masculine) may prefer he/him/his o No Testosterone – Probably sings mezzo soprano or soprano (with or without voice dysphoria) o After Testosterone – May sing tenor or baritone or countertenor Third Gender or Gender Fluid (Non-binary or Genderqueer) – prefers non-binary pronouns they/them/their or something else (You must ask!) o May sing with any voice type (with or without voice dysphoria) Creating a Gender Neutral Learning Environment Gender and sex are not synonymous terms. Cisgender means that your assigned sex at birth is in agreement with your internal feeling about your own gender. Transgender means that there is disagreement between the sex you were assigned at birth and your internal gender identity. There is also a difference between your gender identity and your gender expression. Many other terms fall under the trans umbrella: Non-binary, gender fluid, genderqueer, and agender, etc. Remember that pronouns matter. Never assume. The best way to know what pronouns someone prefers for themselves is to ask. In addition to she/her/hers and he/him/his, it is perfectly acceptable to use they/them/their for a single individual if that is what they prefer. -
Arnold Schering on “Who Sang the Soprano and Alto Parts in Bach's
Arnold Schering on “Who sang the soprano and alto parts in Bach’s cantatas?” Translation by Thomas Braatz © 2009 [The following is a translation of pages 43 to 48 from Arnold Schering’s book, Johann Sebastian Bachs Leipziger Kirchenmusik, published in 1936 in Leipzig and presented in facsimile after the translation. To distinguish between Schering’s original footnotes and mine, his are highlighted in red while mine are left in black.] The paragraph leading into this passage describes Georg PhilippTelemann’s (1681- 1767) sacred music activities in the Neukirche (New Church) in Leipzig. These cantata performances were accomplished by Telemann with the help of university students only and without any assistance from the Thomaner1 choir(s) which were under Johann Kuhnau’s (1660-1722 - Bach’s immediate predecessor) direction. Jealous of the success that Telemann was having with his performances, Kuhnau commented that the young people there [Neukirche] had no real idea about what the proper style of singing in a church was all about and that their goal was “directed toward a so- called cantata-like manner of singing”. By this he evidently meant the elegant, modern way that male falsettists2 sang their solos [compared to the soprano and alto voices of young boys before their mutation]. What was Bach’s way of treating this matter in his sacred music? A cantor’s constant concern, as we have seen, is the ability to obtain and train good sopranos and basses. Kuhnau’s experience, that among his young scholars strong bass singers were a rarity,3 was an experience that his cantor predecessors in Leipzig had already had. -
'The Performing Pitch of William Byrd's Latin Liturgical Polyphony: a Guide
The Performing Pitch of William Byrd’s Latin Liturgical Polyphony: A Guide for Historically Minded Interpreters Andrew Johnstone REA: A Journal of Religion, Education and the Arts, Issue 10, 'Sacred Music', 2016 The choosing of a suitable performing pitch is a task that faces all interpreters of sixteenth- century vocal polyphony. As any choral director with the relevant experience will know, decisions about pitch are inseparable from decisions about programming, since some degree of transposition—be it effected on the printed page or by the mental agility of the singers—is almost invariably required to bring the conventions of Renaissance vocal scoring into alignment with the parameters of the more modern SATB ensemble. To be sure, the problem will always admit the purely pragmatic solution of adopting the pitch that best suits the available voices. Such a solution cannot of itself be to the detriment of a compelling, musicianly interpretation, and precedent for it may be cited in historic accounts of choosing a pitch according to the capabilities of the available bass voices (Ganassi 1542, chapter 11) and transposing polyphony so as to align the tenor part with the octave in which chorale melodies were customarily sung (Burmeister 1606, chapter 8). At the same time, transpositions oriented to the comfort zone of present-day choirs will almost certainly result in sonorities differing appreciably from those the composer had in mind. It is therefore to those interested in this aspect of the composer’s intentions, as well as to those curious about the why and the wherefore of Renaissance notation, that the following observations are offered. -
Composing for Classical Voice Voice Types/Fach System
Composing for Classical Voice Alexandra Smither A healthy relationship between composer and singer is essential for the creation of new song. Like all good relationships, communication is key. Through this brief talk, I hope to give you some tools, some language you can use as common ground when working together. Remember, we are all individuals with insecurities and vulnerabilities and our art made together should lean on strengths. Being in the room with someone means they are making themselves available to you: this goes both ways, so do what you can to elevate them in the way that they see fit. Composers, remember that to be a singer is to be an athlete. If we are protective of our voices, it’s because we are only given one and it is very delicate. Additionally, the opera world is not kind. Many singers are constantly dealing with rejection and commentary, not just on how they sound, but on how they look and who they are. Remember this, be compassionate, choose your words wisely and kindly. Your singer will appreciate it and will sing all the better for it. Singers, take the time to think about your voice and singing. What do you love to sing? What sounds do you like, even outside singing? How does your voice work? Share this information joyfully and without shame - the music being written will reflect it more the more you talk about it. Be willing to try things in ways that are healthy and sustainable for your body. Embrace your individual identity as singer, person, and artist. -
Understanding the Lirico-Spinto Soprano Voice Through the Repertoire of Giovane Scuola Composers
UNDERSTANDING THE LIRICO-SPINTO SOPRANO VOICE THROUGH THE REPERTOIRE OF GIOVANE SCUOLA COMPOSERS Youna Jang Hartgraves Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Jeffrey Snider, Major Professor William Joyner, Committee Member Silvio De Santis, Committee Member Stephen Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Hartgraves, Youna Jang. Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers. Doctor of Musical Arts (Performance), August 2017, 53 pp., 10 tables, 6 figures, bibliography, 66 titles. As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.’ This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. -
Part-Writing Rules.FH9
Important Rules for 4-Part Progressions In general, some theorists (including Ottman and myself) try to spend most of our time telling you what to do rather than what not to do. If you internalize all of our little procedures then you should be able to churn out progressions quickly and easily without really worrying about making mistakes. However, there are times when you really have to be familiar with the rules. Ottman sprinkles many of these around the later chapters of the text, and he tries to summarize everything you need to know in his Appendix A. Ive produced my own summary because I have a few slightly different ideas of what needs emphasis or de-emphasis. Please compare what I say here to what Ottman says. Making each triad Doubling the root. For triads in root position, try to cover all three chord tones in your upper voices. That means you will end up doubling the root. all three tones present doubled root Doubling any other tone in a root-position Ottman (p. 95) teaches that sometimes at triad will happen occasionally, but it is cadences you will end up tripling the root (and considered less good. I will sometimes subtract leaving out the fifth.) Use this for cadences a point for these bad doublings. only. (If you do it in the middle of a progression it will probably cause bad parallels afterwards.) LESS GOOD doubled doubled 3rd 5th tripled root IVI ©2004 Dave Smey. Reproduction and classroom use freely permitted. Using proper spacing (open position) Adjacent upper voices are not allowed to be more than an octave apart. -
The Mezzo-Soprano Onstage and Offstage: a Cultural History of the Voice-Type, Singers and Roles in the French Third Republic (1870–1918)
The mezzo-soprano onstage and offstage: a cultural history of the voice-type, singers and roles in the French Third Republic (1870–1918) Emma Higgins Dissertation submitted to Maynooth University in fulfilment for the Degree of Doctor of Philosophy Maynooth University Music Department October 2015 Head of Department: Professor Christopher Morris Supervisor: Dr Laura Watson 1 TABLE OF CONTENTS Page number SUMMARY 3 ACKNOWLEDGEMENTS 4 LIST OF FIGURES 5 LIST OF TABLES 5 INTRODUCTION 6 CHAPTER ONE: THE MEZZO-SOPRANO AS A THIRD- 19 REPUBLIC PROFESSIONAL MUSICIAN 1.1: Techniques and training 19 1.2: Professional life in the Opéra and the Opéra-Comique 59 CHAPTER TWO: THE MEZZO-SOPRANO ROLE AND ITS 99 RELATIONSHIP WITH THIRD-REPUBLIC SOCIETY 2.1: Bizet’s Carmen and Third-Republic mores 102 2.2: Saint-Saëns’ Samson et Dalila, exoticism, Catholicism and patriotism 132 2.3: Massenet’s Werther, infidelity and maternity 160 CHAPTER THREE: THE MEZZO-SOPRANO AS MUSE 188 3.1: Introduction: the muse/musician concept 188 3.2: Célestine Galli-Marié and Georges Bizet 194 3.3: Marie Delna and Benjamin Godard 221 3.3.1: La Vivandière’s conception and premieres: 1893–95 221 3.3.2: La Vivandière in peace and war: 1895–2013 240 3.4: Lucy Arbell and Jules Massenet 252 3.4.1: Arbell the self-constructed Muse 252 3.4.2: Le procès de Mlle Lucy Arbell – the fight for Cléopâtre and Amadis 268 CONCLUSION 280 BIBLIOGRAPHY 287 APPENDICES 305 2 SUMMARY This dissertation discusses the mezzo-soprano singer and her repertoire in the Parisian Opéra and Opéra-Comique companies between 1870 and 1918.