Mezzo-soprano

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A mezzo-soprano or mezzo (English: /ˈmɛts/ , /ˈmɛz/ ; Italian pronunciation:  [ˈmɛddzo soˈpraːno] 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). [1] The mezzo-soprano voice type is generally divided into the coloratura, lyric, and dramatic mezzo-soprano.

Classical music broad tradition of Western art music

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Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, rhythm, and a variety of vocal techniques. A person who sings is called a singer or vocalist. Singers perform music that can be sung with or without accompaniment by musical instruments. Singing is often done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, jazz, blues, gazal and popular music styles such as pop, rock, electronic dance music and filmi.

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Contents

History

While mezzo-sopranos typically sing secondary roles in operas, notable exceptions include the title role in Bizet's Carmen , Angelina (Cinderella) in Rossini's La Cenerentola , and Rosina in Rossini's Barber of Seville (all of which are also sung by sopranos). Many 19th-century French-language operas give the leading female role to mezzos, including Béatrice et Bénédict , La damnation de Faust , Don Quichotte , La favorite , Dom Sébastien , Charles VI , Mignon , Samson et Dalila , Les Troyens , and Werther , as well as Carmen.

Georges Bizet French composer

Georges Bizet, registered at birth as Alexandre César Léopold Bizet, was a French composer of the Romantic era. Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, Carmen, which has become one of the most popular and frequently performed works in the entire opera repertoire.

<i>Carmen</i> opera in four acts by French composer Georges Bizet

Carmen is an opera in four acts by French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on a novella of the same title by Prosper Mérimée. The opera was first performed by the Opéra-Comique in Paris on 3 March 1875, where its breaking of conventions shocked and scandalized its first audiences.

Cinderella European folk tale

"Cinderella" or The Little Glass Slipper, is a folk tale embodying a myth-element of unjust oppression and triumphant reward. Thousands of variants are known throughout the world. The title character is a young woman living in unfortunate circumstances, that are suddenly changed to remarkable fortune. The story of Rhodopis, recounted by the Greek geographer Strabo sometime between around 7 BC and 23 AD, about a Greek slave girl who marries the king of Egypt, is usually considered to be the earliest known variant of the Cinderella story. The first literary European version of the story was published in Italy by Giambattista Basile in his Pentamerone in 1634; the version that is now most widely known in the English-speaking world was published in French by Charles Perrault in Histoires ou contes du temps passé in 1697. Another version was later published by the Brothers Grimm in their folk tale collection Grimms' Fairy Tales in 1812.

Typical roles for mezzo-sopranos include the stereotypical triad associated with contraltos of "witches, bitches, and britches": witches, nurses, and wise women, such as Azucena in Verdi's Il trovatore ; villains and seductresses such as Amneris in Verdi's Aida ; and "breeches roles" or "trouser roles" (male characters played by female singers) such as Cherubino in Mozart's Le nozze di Figaro . Mezzo-sopranos are well represented in baroque music, early music, and baroque opera. [1] Some roles designated for lighter soubrette sopranos are sung by mezzo-sopranos, who often provide a fuller, more dramatic quality. Such roles include Despina in Mozart's Così fan tutte and Zerlina in his Don Giovanni . [2] Mezzos sometimes play dramatic soprano roles such as Santuzza in Mascagni's Cavalleria rusticana , Lady Macbeth in Verdi's Macbeth , and Kundry in Wagner's Parsifal . [3]

<i>Il trovatore</i> opera by Giuseppe Verdi

Il trovatore is an opera in four acts by Giuseppe Verdi to an Italian libretto largely written by Salvadore Cammarano, based on the play El trovador (1836) by Antonio García Gutiérrez. It was Gutiérrez's most successful play, one which Verdi scholar Julian Budden describes as "a high flown, sprawling melodrama flamboyantly defiant of the Aristotelian unities, packed with all manner of fantastic and bizarre incident."

<i>Aida</i> opera in four acts by Giuseppe Verdi

Aida is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni. Set in the Old Kingdom of Egypt, it was commissioned by Cairo's Khedivial Opera House and had its première there on 24 December 1871, in a performance conducted by Giovanni Bottesini. Today the work holds a central place in the operatic canon, receiving performances every year around the world; at New York's Metropolitan Opera alone, Aida has been sung more than 1,100 times since 1886. Ghislanzoni's scheme follows a scenario often attributed to the French Egyptologist Auguste Mariette, but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera.

Breeches role stage role representing a male character played by a female actor

A breeches role is a role in which an actress appears in male clothing. Breeches, tight-fitting knee-length pants, were the standard male garment at the time breeches roles were introduced.

Voice type

Mezzo-soprano vocal range (A3-A5) notated on the treble staff (left) and on piano keyboard in green with dot marking middle C (C4). Mezzo-soprano voice range on keyboard.svg
Mezzo-soprano vocal range (A3–A5) notated on the treble staff (left) and on piano keyboard in green with dot marking middle C (C4).
Mezzo-soprano

The vocal range of the mezzo-sopranos lies between the soprano and the contralto voice types. Mezzo-sopranos generally have a heavier, darker tone than sopranos. The mezzo-soprano voice resonates in a higher range than that of a contralto. The terms Dugazon and Galli-Marié are sometimes used to refer to light mezzo-sopranos, after the names of famous singers. Usually men singing within the female range are called countertenors since there is a lighter more breathy tonal (falsetto) quality difference. [4] In current operatic practice, female singers with very low tessituras are often included among mezzo-sopranos, because singers in both ranges are able to cover the other, and true operatic contraltos are very rare. [1]

Vocal range is the measure of the breadth of pitches that a human voice can phonate. Its most common application is within the context of singing, where it is used as a defining characteristic for classifying singing voices into groups known as voice types. It is also a topic of study within linguistics, phonetics, and speech and language pathology, particularly in relation to the study of tonal languages and certain types of vocal disorders, although it has little practical application in terms of speech.

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

Subtypes and roles in opera

Within the mezzo-soprano voice type category are three generally recognized subcategories: coloratura mezzo-soprano, lyric mezzo-soprano, and dramatic mezzo-soprano.

Coloratura

A coloratura mezzo-soprano has a warm lower register and an agile high register. The roles they sing often demand not only the use of the lower register but also leaps into the upper tessitura with highly ornamented, rapid passages. They have a range from approximately the G below middle C (G3, 196 Hz) to the B two octaves above middle C (B5 988 Hz). Some coloratura mezzo-sopranos can sing up to high C (C6, 1047 Hz) or high D (D6, 1175 Hz), but this is very rare. [1] What distinguishes these voices from being called sopranos is their extension into the lower register and warmer vocal quality. Although coloratura mezzo-sopranos have impressive and at times thrilling high notes, they are most comfortable singing in the middle of their range, rather than the top. [3]

Many of the hero roles in the operas of Handel and Monteverdi, originally sung by male castrati, can be successfully sung today by coloratura mezzo-sopranos. Rossini demanded similar qualities for his comic heroines, and Vivaldi wrote roles frequently for this voice as well. Coloratura mezzo-sopranos also often sing lyric-mezzo-soprano roles or soubrette roles. [2]

George Frideric Handel 18th-century German, later British, Baroque composer

George FridericHandel was a German, later British, Baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos. Handel received important training in Halle-upon-Saale and worked as a composer in Hamburg and Italy before settling in London in 1712; he became a naturalised British subject in 1727. He was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition.

Claudio Monteverdi Italian composer

Claudio Giovanni Antonio Monteverdi was an Italian composer, string player and choirmaster. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and the Baroque periods of music history.

Antonio Vivaldi Italian baroque period composer, virtuoso violinist and teacher

Antonio Lucio Vivaldi was an Italian Baroque musical composer, virtuoso violinist, teacher, and priest. Born in Venice, the capital of the Venetian Republic, he is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as the Four Seasons.

Coloratura mezzo-soprano roles in operas (*denotes a lead role):

Lyric

The lyric mezzo-soprano has a range from approximately the G below middle C (G3, 196 Hz) to the A two octaves above middle C (A5, 880 Hz). [1] This voice has a very smooth, sensitive and at times lachrymose quality. Lyric mezzo-sopranos do not have the vocal agility of the coloratura mezzo-soprano or the size of the dramatic mezzo-soprano. The lyric mezzo-soprano is ideal for most trouser roles. [3]

Lyric mezzo-soprano roles in operas (*denotes a lead role):

Dramatic

A dramatic mezzo-soprano has a strong medium register, a warm high register and a voice that is broader and more powerful than the lyric and coloratura mezzo-sopranos. This voice has less vocal facility than the coloratura mezzo-soprano. The range of the dramatic mezzo-soprano is from approximately the F below middle C (F3, 175 Hz) to the G two octaves above middle C (G5, 784 Hz). [1] The dramatic mezzo-soprano can sing over an orchestra and chorus with ease and was often used in the 19th century opera, to portray older women, mothers, witches and evil characters. Verdi wrote many roles for this voice in the Italian repertoire and there are also a few good roles in the French Literature. The majority of these roles, however, are within the German Romantic repertoire of composers like Wagner and Richard Strauss. Like coloratura mezzos, dramatic mezzos are also often cast in lyric mezzo-soprano roles. [3]

Dramatic mezzo-soprano roles in operas (*denotes a lead role):

Gilbert and Sullivan and operetta

All of Gilbert and Sullivan's Savoy Operas have at least one mezzo-soprano character. Notable operetta roles are:

See also

Related Research Articles

Tenor is a male voice type in classical music whose vocal range lies between the countertenor and baritone. It is one of the highest of the male voice types. The tenor's vocal range extends up to C5. The low extreme for tenors is roughly A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into 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. Originally from the Greek βαρύτονος (barýtonos), meaning heavy sounding, music for this voice is typically written 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 A below middle C to the A above middle C (A2 to A4) in operatic music, but can be extended at either end. The baritone voice type is generally divided into the baryton-Martin baritone (light baritone), lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton-noble baritone, and the bass-baritone.

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 Dutchman 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.

Coloratura

The word coloratura is originally from Italian, literally meaning "coloring", and derives from the Latin word colorare. When used in English, the term specifically refers to elaborate melody, particularly in vocal music and especially in operatic singing of the 18th and 19th centuries, with runs, trills, wide leaps, or similar virtuoso-like material. Its instrumental equivalent is ornamentation. It is also now widely used to refer to passages of such music, operatic roles in which such music plays a prominent part, and singers of these roles.

The German Fach system 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.

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.

Leonie Rysanek singer

Leopoldine Rysanek was an Austrian dramatic soprano.

A soubrette is a type of operatic soprano voice fach, often cast as a female stock character in opera and theatre. The term arrived in English from Provençal via French, and means "conceited" or "coy". A soubrette is also defined as a young woman regarded as flirtatious or frivolous.

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

A voice type classifies a singing voice by vocal range, vocal weight, tessitura, vocal timbre, vocal transition points (passaggia) like breaks and lifts, and vocal register. Voice classification was developed for European classical music and seldom applies to other kinds of singing; voice classification is in the opera to pair roles with voices. Several different voice classification systems are available to identify voice types, including the German Fach system and the choral music system among many others; no system is universally applied or accepted.

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 possess a somewhat darker timbre, too, than the average lyric soprano. It generally uses squillo to "slice" through the sound of a full orchestra, rather than singing over the orchestra like a true dramatic soprano.

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.

There is no authoritative system of voice classification in non-classical music as classical terms are used to describe not merely various vocal ranges, but specific vocal timbres unique to each range. These timbres are produced by classical training techniques with which most popular singers are not intimately familiar, and which even those that are do not universally employ.

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.

Soprano sfogato is a contralto or mezzo-soprano who is capable—by sheer industry or natural talent—of extending her upper range and being able to encompass the coloratura soprano tessitura. An upwardly extended "natural" soprano is sometimes called soprano assoluto.

A bass ( BAYSS) 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. Italians favour subdividing basses into the basso cantante (singing bass), basso buffo ("funny" bass), or the dramatic basso profondo (low bass). The American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass. The German fach system offers further distinctions: Spielbass (Bassbuffo), Schwerer Spielbass (Schwerer Bassbuffo), Charakterbass (Bassbariton), and Seriöser Bass. These classification systems can overlap. Rare is the performer who embodies a single fach without also touching repertoire from another category.

Renate Behle Austrian mezzo-soprano and soprano, and voice teacher

Renate Behle is an Austrian operatic mezzo-soprano and soprano who made an international career, based in Germany. She was professor of voice at the Hochschule für Musik und Theater Hamburg from 2000 to 2010.

References

  1. 1 2 3 4 5 6 Appelman, D. Ralph (1986). The Science of Vocal Pedagogy: Theory and Application. Indiana University Press. ISBN   978-0-253-20378-6.
  2. 1 2 Boldrey, Richard; Robert Caldwell, Werner Singer, Joan Wall and Roger Pines (1992). Singer's Edition (Soubrette): Operatic Arias – Soubrette. Caldwell Publishing Company. ISBN   978-1-877761-03-4.CS1 maint: Multiple names: authors list (link)
  3. 1 2 3 4 Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing Company. ISBN   978-1-877761-64-5.
  4. Stark, James (2003). Bel Canto: A History of Vocal Pedagogy. University of Toronto Press. ISBN   978-0-8020-8614-3.

Further reading