Fach

Last updated

The German Fach system (German pronunciation: [fax] ; literally "compartment" or "subject of study", here in the sense of "vocal specialization") is a method of classifying singers, primarily opera singers, according to the range, weight, and color of their voices. It is used worldwide, but primarily in Europe, especially in German-speaking countries and by repertory opera houses. [1]

Contents

The Fach system is a convenience for singers and opera houses. It prevents singers from being asked to sing roles which they are incapable of performing, or roles for which their vocal timbre is dramatically unsuited. Opera companies keep lists of available singers by Fach so that when they are casting roles for an upcoming production, they do not inadvertently contact performers who would be inappropriate for the part. [2]

Below is a list of Fächer (German pronunciation: [ˈfɛçɐ] ), their ranges as written on sheet music, and roles generally considered appropriate to each. When two names for the Fach are given, the first is in more common use today. Where possible, an English and/or Italian equivalent of each Fach is listed; however, not all Fächer have ready English or Italian equivalents. Note that some roles can be sung by more than one Fach and that many singers do not easily fit into a Fach: for instance some sopranos may sing both Koloratursopran and Dramatischer Koloratursopran roles. In addition, roles traditionally more difficult to cast may be given to a voice other than the traditional Fach. For instance, the "Queen of the Night" and "Violetta" are more traditionally dramatic coloratura roles, but it is difficult to find a dramatic coloratura to sing it (particularly given the extreme range). Therefore, these roles are often sung by a lyric coloratura.

Soprano Fächer

Lyrischer Koloratursopran / Koloratursoubrette

Soprano C to F.svg

Dramatischer Koloratursopran

Soprano C to F.svg

One must not mistake the Mozartian dramatic coloratura soprano with the Italian dramatic coloratura soprano. A singer that sings Konstanze, Donna Anna or Fiordiligi can not necessarily sing the Italian dramatic coloratura parts, due to other vocal demands. Imogene, Leonora and Violetta require a dramatic soprano voice and are most often sung by dramatic sopranos with an agile voice that can easily produce coloratura and high notes. Roles like Norma, Lady Macbeth, Odabella or Abigaille are good examples of Italian roles that are not necessarily a coloratura soprano (even though the score calls for coloratura singing), but a full bodied dramatic soprano with a voice that can handle extreme dramatic singing and that is flexible enough to sing coloratura. Giuseppe Verdi wrote many parts like this in his early years.

Deutsche Soubrette / Charaktersopran

Soprano C to C.svg

Lyrischer Sopran

Soprano B to C.svg

Jugendlich dramatischer Sopran

Soprano A to C.svg

Dramatischer Sopran

Soprano A to C.svg

Hochdramatischer Sopran

Soprano F to C.svg

Mezzo-soprano Fächer

Koloratur-Mezzosopran

Soprano G to B.svg

Lyrischer Mezzosopran / Spielalt

Soprano G to B.svg

Dramatischer Mezzosopran

Soprano G to B.svg


Contralto Fächer

Dramatischer Alt

200pxl Soprano F to A.svg
200pxl

Tiefer Alt

Tenor Fächer

Spieltenor / Tenor buffo

Tenor C to B.svg

Charaktertenor

Tenor B to C.svg

Lyrischer Tenor

Tenor C to C.svg

Jugendlicher Heldentenor

Tenor C to C.svg

Heldentenor

Tenor B to C.svg

Baritone Fächer

Bariton / Baryton-Martin

Lyrischer Bariton / Spielbariton

Baritone B to G.svg

Kavalierbariton

Baritone A to G Sharp.svg

Charakterbariton

Baritone A to G Sharp.svg

Heldenbariton

Bass G to F Sharp.svg

Lyrischer Bassbariton / Low lyric baritone

Bass G to F Sharp.svg

Dramatischer Bassbariton / Low dramatic baritone

Bass G to F Sharp.svg

Bass Fächer

Basso cantante / Lyric bass-bariton / High lyric bass

Bass E to F.svg

Hoher Bass / Dramatic bass-baritone / High dramatic bass

Bass E to F.svg

Jugendlicher Bass

Bass E to F.svg

Spielbass / Bassbuffo / Lyric buffo

Bass E to F.svg

Schwerer Spielbass / Dramatic buffo

Bass C to F.svg

Lyrischer seriöser Bass

Bass C to F.svg

Dramatischer seriöser Bass

Bass C to F.svg

Related Research Articles

A soprano (Italian pronunciation:[soˈpraːno]) is a type of classical 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 (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, 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 often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano.

A tenor is a type of male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. Composers typically write music for this voice in the range from the second B below middle C to the G above middle C (i.e. B2 to G4) in choral music, and from the second B flat below middle C to the C above middle C (B2 to C5) in operatic music, but the range can extend at either end. Subtypes of tenor include the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or spieltenor.

A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice-types. It is the most common male voice. The term originates from the Greek βαρύτονος (barýtonos), meaning "heavy sounding". Composers typically write music for this voice in the range from the second F below middle C to the F above middle C (i.e. F2–F4) in choral music, and from the second G below middle C to the G above middle C (G2 to G4) in operatic music, but the range can extend at either end. Subtypes of baritone include the baryton-Martin baritone (light baritone), lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton-noble baritone, and the bass-baritone.

A contralto is a type of classical female singing voice whose vocal range is the lowest female voice type.

A mezzo-soprano (Italian:[ˌmɛddzosoˈpraːno], lit.'half soprano'), or mezzo ( MET-soh), is a type of classical female singing voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-soprano's vocal range usually extends from the A below middle C to the A two octaves above (i.e. A3–A5 in scientific pitch notation, where middle C = C4; 220–880 Hz). In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C (F3, 175 Hz) and as high as "high C" (C6, 1047 Hz). The mezzo-soprano voice type is generally divided into the coloratura, lyric, and dramatic.

A bass-baritone is a high-lying bass or low-lying "classical" baritone voice type which shares certain qualities with the true baritone voice. The term arose in the late 19th century to describe the particular type of voice required to sing three Wagnerian roles: the title role in Der fliegende Holländer, Wotan/Der Wanderer in the Ring Cycle and Hans Sachs in Die Meistersinger von Nürnberg. Wagner labelled these roles as Hoher Bass —see fach for more details.

Spinto is a vocal term used to characterize a soprano or tenor voice of a weight between lyric and dramatic that is capable of handling large musical climaxes in opera at moderate intervals.

<span class="mw-page-title-main">Canadian Opera Company</span> Opera company based in Toronto, Ontario

The Canadian Opera Company (COC) is an opera company in Toronto, Ontario, Canada. It is the largest opera company in Canada and one of the largest producers of opera in North America. The COC performs at the Four Seasons Centre for the Performing Arts, which was purpose-built for opera and ballet and is shared with the National Ballet of Canada. For forty years until April 2006, the COC had performed at the O'Keefe Centre.

<span class="mw-page-title-main">Soubrette</span> Mischievous and coquettish female character in theatre and opera

A soubrette is a female minor stock character in opera and theatre, often a pert lady's maid. By extension, the term can refer generally to any saucy or flirtatious young woman. The term arrived in English from Provençal via French, and means "conceited" or "coy".

A coloratura soprano is a type of operatic soprano voice that specializes in music that is distinguished by agile runs, leaps and trills.

<span class="mw-page-title-main">Hariclea Darclée</span> Romanian opera singer (1860–1939)

Hariclea Darclée was a celebrated Romanian operatic spinto soprano of Greek descent who had a three-decade-long career.

<span class="mw-page-title-main">Vytautas Juozapaitis</span> Lithuanian politician

Vytautas Juozapaitis is a Lithuanian singer (baritone), recipient of Lithuanian National Prize, a soloist of Lithuanian National Opera and Ballet Theatre and Kaunas State Musical Theatre, a professor of Lithuanian Academy of Music and Theatre and a docent of Vilnius College of Higher Education, and a television personality. He has performed in many international venues and is considered the most famous contemporary Lithuanian baritone.

A voice type is a group of voices with similar vocal ranges, capable of singing in a similar tessitura, and with similar vocal transition points (passaggi). Voice classification is most strongly associated with European classical music, though it, and the terms it utilizes, are used in other styles of music as well.

A spinto soprano is a type of operatic soprano voice that has the limpidity and easy high notes of a lyric soprano, yet can be "pushed" on to achieve dramatic climaxes without strain. This type of voice may also possess a somewhat darker timbre than the average lyric.

A dramatic soprano is a type of operatic soprano with a powerful, rich, emotive voice that can sing over, or cut through, a full orchestra. Thicker vocal folds in dramatic voices usually (but not always) mean less agility than lighter voices but a sustained, fuller sound. Usually this voice has a lower tessitura than other sopranos, and a darker timbre. They are often used for heroic, often long-suffering, tragic women of opera. Dramatic sopranos have a range from approximately low A (A3) to "high C" (C6). Some dramatic sopranos, known as Wagnerian sopranos or High dramatic sopranos (high in this case referring to the maturity of the voice, rather than the tessitura or range), have an exceptionally big voice that can assert itself over a large orchestra (of more than 80 or even 100 players). These voices are substantial, often denser in tone, extremely powerful and, ideally, evenly balanced throughout the vocal registers. Wagnerian sopranos usually play mythic heroines. Successful Wagnerian sopranos are rare and often Wagnerian roles are performed by Italianate dramatic sopranos.

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 (C4) to "high D" (D6). This is the most common female singing voice. There is a tendency to divide lyric sopranos into two groups: light and full.

A bass is a type of classical male singing voice and has the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E2–E4). Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national style and classification system.

<span class="mw-page-title-main">Kay Griffel</span> Operatic spinto soprano

Kay Griffel is an American operatic spinto soprano.

Sigutė Stonytė is a Lithuanian soprano and professor at the Lithuanian Academy of Music and Theatre.

<span class="mw-page-title-main">Urve Tauts</span> Estonian opera singer (born 1935)

Urve Tauts is an Estonian opera singer (mezzo-soprano).

References

  1. "How to Determine Singing Range and Vocal Fach (Voice Type)". SingWise. 18 April 2020. Retrieved 2021-08-18.
  2. Scott-Stoddart, Nina. "The Fach system of vocal classification". Halifax Opera Festival. Retrieved 2021-08-18.
  3. 1 2 3 4 Kloiber 2002, p. 899.
  4. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Kloiber 2002, p. 900.
  5. "Opera Roles from Siegfried". Opera-Arias.com. Retrieved 2023-09-18.
  6. 1 2 3 Anthony, Legge (1988). The art of auditioning. Rhinegold publishing limited. p. 55. ISBN   0946890242.
  7. 1 2 3 4 5 6 7 8 9 10 11 Kloiber 2002, p. 901.
  8. "Opera Roles from La Bohème". Opera-Arias.com. Retrieved 2023-09-18.
  9. 1 2 3 4 5 6 7 8 9 10 11 12 13 Kloiber 2002, p. 902.
  10. "Opera Roles from Die Meistersinger von Nürnberg". Opera-Arias.com. Retrieved 2023-09-18.
  11. "Opera Roles from The Queen of Spades". Opera-Arias.com. Retrieved 2023-09-18.
  12. "Opera Roles from Der Rosenkavalier". Opera-Arias.com. Retrieved 2023-09-18.
  13. "Opera Roles from Les Contes d'Hoffmann". Opera-Arias.com. Retrieved 2023-09-18.
  14. "Opera Roles from Salome". Opera-Arias.com. Retrieved 2023-09-18.
  15. 1 2 3 4 Anthony, Legge (1988). The art of auditioning. Rhinegold publishing limited. p. 56. ISBN   0946890242.
  16. Anthony, Legge (1988). The art of auditioning. Rhinegold publishing limited. ISBN   0946890242.
  17. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 Kloiber 2002, p. 903.
  18. 1 2 3 4 Kloiber 2002, p. 905.
  19. 1 2 3 4 5 6 7 8 9 Kloiber 2002, p. 906.
  20. 1 2 3 4 5 6 Kloiber 2002, p. 907.
  21. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Kloiber 2002, p. 908.
  22. McGinnis 2010, p. 257
  23. John Warrack and Ewan West, The Oxford Dictionary of Opera, 2nd edition, 1992. ISBN   0-19-869164-5
  24. Huizenga, Tom (14 December 2011). "Talk Like An Opera Geek: Breaking Down Baritones". Deceptive Cadence. NPR.
  25. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 Kloiber 2002, p. 909.
  26. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Kloiber 2002, p. 910.
  27. Facsimile of score of Lulu from Universal Edition
  28. Bass Guide, BBC Wales
  29. 1 2 3 4 5 6 7 8 9 10 Kloiber 2002, p. 911.
  30. 1 2 3 4 5 6 7 Kloiber 2002, p. 912.
  31. 1 2 3 4 5 6 7 8 9 Kloiber 2002, p. 913.

Bibliography