Sopranist

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A sopranist (also known as male soprano) is a male singer who is able to sing in vocal tessitura of a soprano, usually through falsetto or head voice technique. This voice type is a specific kind of countertenor. [1] In rare cases an adult man may be able to sing in the soprano range using his normal or modal voice (high chest voice) and not falsetto due to endocrinological reasons, like Radu Marian, or as a result of a larynx that has not completely developed as is allegedly the case of Michael Maniaci. [2]

Contents

Voice

A sopranist is able to sing in the soprano vocal range which is approximately between C4 and C6, though at times may expand somewhat higher or lower. Men of all voice types can possess the wide-ranged and effective falsetto or head voice needed to produce the contralto, mezzo-soprano and soprano vocal ranges. Some countertenors can sing up into the female vocal tessituras using the modal register (normal singing production) and need not employ any falsetto. [3]

Controversy over the term male soprano

Typically, the term "soprano" refers to female singers but at times the term "male soprano" has been used by men who sing in the soprano vocal range using falsetto vocal production instead of the modal voice. This practice is most commonly found in the context of choral music in England. However, these men are more commonly referred to as countertenors or sopranists. The practice of referring to countertenors as "male sopranos" is somewhat controversial within vocal pedagogical circles as these men do not produce sound in the same physiological way that female sopranos do. [1] Radu Marian can refer to himself as a true male soprano because he is able to sing in the soprano vocal range using the modal voice.

Repertoire

There is a large body of music for the male soprano that was written when it was common to use a castrato – a voice type which, for all intents and purposes, no longer exists, as the practice of castrating trebles was abolished before the end of the 19th century. Sopranists are very rare, since most countertenors are altos and mezzos. In fact, probably because early famous countertenors were altos (like Alfred Deller), it was believed for a long time that countertenors can only be altos (and later, mezzo countertenors, like David Daniels or Jochen Kowalski were recognized). While there is some modern repertoire written for countertenors (sometimes written specifically for certain singers, like Britten's Death in Venice, which has a part that was written specifically for James Bowman), at present there are only a small number of modern pieces written specifically for the sopranist vocal type. An exception is Alfred Schnittke's 1995 opera Historia von D. Johann Fausten which calls for both a female alto and a male soprano Mephistopheles.

Notable sopranists

Present day notable sopranists include:

See also

Related Research Articles

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 (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 countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G3 to D5 or E5, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C4 to C6. Countertenors often have tenor or baritone chest voices, but sing in falsetto or head voice much more often than they do in their chest voice.

The musical term alto, meaning "high" in Italian, historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In 4-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor.

A tenor is a type of classical 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 (B♭2 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 contralto is a type of classical female singing voice whose vocal range is the lowest female voice type.

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.

Falsetto is the vocal register occupying the frequency range just above the modal voice register and overlapping with it by approximately one octave.

Head voice is a term used within vocal music. The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regard to this term. Head voice can be used in relation to the following:

Vocal range is the range of pitches that a human voice can phonate. A common application is within the context of singing, where it is used as a defining characteristic for classifying singing voices into voice types. It is also a topic of study within linguistics, phonetics, and speech-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.

<span class="mw-page-title-main">Breeches role</span> Theatre role in which an actress wears male clothing

A breeches role is one in which an actress appears in male clothing. Breeches, tight-fitting knee-length pants, were the standard male garment at the time these roles were introduced. The theatrical term travesti covers both this sort of cross-dressing and also that of male actors dressing as female characters. Both are part of the long history of cross-dressing in music and opera and later in film and television.

<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".

In music, an extension is a set of musical notes that lie outside the standard range or tessitura.

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.

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 them.

Michael Maniaci is an American opera singer. Possessing a male soprano voice, Maniaci is noted for his claim to be able to sing into the upper soprano range without resorting to falsetto, an otherwise common phonation for men who sing in high registers, such as countertenors. Although this was possible for castrati because of the hormonal imbalance following castration, Maniaci claims that, for some unknown reason, his larynx did not develop and lengthen completely during puberty, causing his voice not to "break" in the usual manner. Maniaci claims that this physical particularity has given him the ability to sing in the soprano register without sounding like a typical countertenor or a female singer. There are, however, critics who claim that Maniaci actually sings in falsetto.

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

Falsettone is a term used in modern Italian musicology to describe a vocal technique used by male opera singers in the past, in which the fluty sounds typical of falsetto singing are amplified by using the same singing technique used in the modal voice register. The result is a bright, powerful tone, often very high-pitched, although the sound is still different from and more feminine than what is produced by the modal voice. The term falsettone is also used for the mixed vocal register that can be achieved using this technique.

The term "four-part harmony" refers to music written for four voices, or for some other musical medium—four musical instruments or a single keyboard instrument, for example—for which the various musical parts can give a different note for each chord of the music.

A voice change or voice mutation, sometimes referred to as a voice break or voice crack, commonly refers to the deepening of the voice of men as they reach puberty. Before puberty, both sexes have roughly similar vocal pitch, but during puberty the male voice typically deepens an octave.

In vocal music, the term voce faringea describes a historical singing practice developed and used especially by the bel canto tenors of the late eighteenth and early nineteenth century to extend the upper range of the voice by modifying the falsetto, which is typically heard as a weak or feminine sound, into a vocal quality that is more tenoral and powerful.

References

  1. 1 2 McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN   978-1-56593-940-0.
  2. 1 2 "The man with the 300-year-old voice". The Times. London. 12 October 2007. Retrieved 23 May 2010.
  3. ↑ Giles, Peter (1982). The Countertenor. Muller Publishing Co.
  4. ↑ "Simone Bartolini: Biography". Future Style. Retrieved 2 March 2019.
  5. ↑ "Aris Christofellis". Opera Verona. 2015.
  6. 1 2 Heilbut, Anthony (1 July 2012). "The Male Soprano". Believer Mag.
  7. ↑ Heilbut, Anthony (2012). The Fan Who Knew Too Much . Alfred A. Knopf. p.  262. ISBN   9780375400803. edson cordeiro sopranista.
  8. ↑ Lynn Jolicoeur; Sacha Pfeiffer (14 May 2014). "Shocked By His Own Voice: Male Soprano Soars In World's Smallest Vocal Category". WBUR-FM.
  9. ↑ Melissa Lesnie (6 October 2013). "David Hansen: It's a Long Way to the Top". Limelight .
  10. ↑ Vyatcheslav Kagan-Paley bio from the Herman Braun Foundation
  11. ↑ Quaquero, Myriam 'Una voce molto speciale', L'Unione Sarda June 2, 1997 (in Italian). Accessed 3 March 2019.
  12. ↑ Mark Brown (12 April 2010). "Bath celebrates the life of the bedhopping singing star of the 1700s". The Guardian .
  13. ↑ "Meet opera's rare male soprano". BBC News. Retrieved 23 July 2023.
  14. ↑ Tom Ambrose (8 August 2021). "Tokyo thanks the world as closing ceremony marks the end of a unique Olympic Games". Evening Standard . London.
  15. ↑ "Dariusz Paradowski". Countertenors. Retrieved 2 March 2019.
  16. ↑ Panarello, Joseph F. (5 June 2006). "Gender Bending with Brian Charles Rooney". Joseph F.
  17. ↑ Robinson-Martin, Trineice (2016). So You Want To Sing Gospel. Rowman and Littlefield. p. 111. ISBN   9781442239210.
  18. ↑ "가수 문지훈". countertenormoon.webnode.kr (in Korean). Archived from the original on 30 March 2023. Retrieved 4 July 2023.
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