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A mezzo-soprano or mezzo (; Italian: [ˌmɛddzosoˈpraːno]; meaning "half soprano") 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 mezzo-soprano.
Jessye Mae Norman was an American opera singer and recitalist. She was able to perform dramatic soprano roles, but did not limit herself to that voice type. A commanding presence on operatic, concert and recital stages, Norman was associated with roles including Beethoven's Leonore, Wagner's Sieglinde and Kundry, Cassandre and Didon by Berlioz and Bartók's Judith. The New York Times music critic Edward Rothstein described her voice as a "grand mansion of sound", and wrote that "it has enormous dimensions, reaching backward and upward. It opens onto unexpected vistas. It contains sunlit rooms, narrow passageways, cavernous halls."
Leopoldine Rysanek was an Austrian dramatic soprano.
Jonathan Stewart Vickers,, known professionally as Jon Vickers, was a Canadian heldentenor.
A heldentenor, earlier called tenorbariton, is an operatic tenor voice, most often associated with Wagnerian repertoire.
Dame Gwyneth Jones is a Welsh dramatic soprano, widely regarded as one of the greatest Wagnerian sopranos in the second half of the 20th century.
Deborah Voigt is an American dramatic soprano who has sung roles in operas by Wagner and Richard Strauss.
Richard Cassilly was an American operatic tenor who had a major international opera career between 1954–90. Cassilly "was a mainstay in the heldentenor repertory in opera houses around the world for 30 years", and particularly excelled in Wagnerian roles like Tristan, Siegmund and Tannhäuser, and in dramatic parts that required both stamina and vocal weight, such as Giuseppe Verdi's Otello and Camille Saint-Saëns's Samson.
Blanche Thebom was an American operatic mezzo-soprano, voice teacher, and opera director. She was part of the first wave of American opera singers that had highly successful international careers. In her own country she had a long association with the Metropolitan Opera in New York City which lasted 22 years. Opera News stated, "An ambitious beauty with a velvety, even-grained dramatic mezzo, Thebom was a natural for opera: she commanded the stage with the elegantly disciplined hauteur of an old-school diva, relishing the opportunity to play femmes du monde such as Marina in Boris Godunov, Herodias and Dalila."
Bernd Aldenhoff was a German Heldentenor.
Deborah Polaski is an American opera and concert singer (soprano). She has specialized in dramatic soprano roles and also sings mezzo-soprano roles occasionally.
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, have an exceptionally big voice that can assert itself over a large orchestra (of more than 80 or even 100 pieces). 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.
Kenneth (Ken) Neate was an Australian operatic and concert tenor, opera producer and singing teacher, composer and author. He appeared at the Bayreuth Festival in 1963 as Loge in Rheingold and he was noted as a dramatic tenor in German, French, and Italian repertoire in opera houses in England, France, Italy, Austria, Germany, and Australia. His operatic career lasted 38 years, followed by ten years as lecturer in Voice and Opera Studies at the Richard Strauss Conservatorium in Munich.
Karin Branzell was a Swedish operatic contralto, who had a prominent career at the Metropolitan Opera, New York, and in Europe. Her very wide range enabled her to sing both contralto roles and the occasional soprano role. She was particularly noted for her singing of the music of Richard Wagner, in roles such as Ortrud (Lohengrin), Venus (Tannhäuser), Erda, Brangäne, and Brunnhilde. She was considered on a par with Margarete Klose and Kerstin Thorborg as a Wagnerian contralto. Amneris (Aida), Dalila, Herodias (Salome), and Clytemnestra (Elektra) were among her other renowned roles.
William Cochran was an American Heldentenor who achieved an international career.
Heinrich Vogl was a German operatic heldentenor.
Stephen Milling is a Danish operatic bass who has had an active international career since the mid-1990s. Although his repertoire encompasses a wide range, he is particularly known for his portrayals in the operas of Richard Wagner.
Gary Lehman is an American operatic tenor, specialising in the Heldentenor repertoire.
The following lists note recordings in opera and recital of soprano Jessye Norman.
Kwangchul Youn is a South Korean operatic bass and academic voice teacher. He made an international career based in Germany, from 1994 to 2004 at the Berlin State Opera. He has performed leading roles at international opera houses and festivals, such as Gurnemanz in Parsifal at the Bayreuth Festival, Mephisto in Faust at the Vienna State Opera, and King Marke in Tristan und Isolde at the Metropolitan Opera.
References
- 1 2 3 Hamilton,D., ed. (1987). The Metropolitan Opera Encyclopedia] . Simon & Schuster. p. 184. ISBN 0-671-61732-X.
- 1 2 3 4 5 Rockwell, J. (April 3, 1989). "Gary Lakes, Lost to Sports, Is a Wagnerian Gain". The New York Times . Retrieved 2009-09-27.
- 1 2 "Gary Lakes Met performances" . Retrieved 2009-09-27.
- 1 2 "Gary Lakes". IMDb . Retrieved 2009-09-27.
- 1 2 Croan, Robert (November 9, 2001). "Gary Lakes embraces the tough role of Herod in Salome". The Post-Gazette. Retrieved 2009-09-27.
- ↑ "Alumni Roster". musicacademy.org. Archived from the original on 5 June 2012. Retrieved 29 January 2020.
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