Contralto

A contralto is a type of classical female singing voice whose vocal range is the lowest female voice type,^[1] with the lowest tessitura.^[2][3] The contralto's vocal range is fairly rare; similar to, but different from the alto, and almost identical to that of a countertenor, typically between the F below middle C (F₃ in scientific pitch notation) to the second F above middle C (F₅), although at the extremes some voices can reach the E below middle C (E₃) or the second B♭ above middle C (B♭₅).^[1]

Terminology

"Contralto" is primarily meaningful only in reference to classical and operatic singing, as other traditions lack a system of vocal categorization comparable to that generally accepted in the classical context. However, the term is occasionally used to correctly describe the lowest female voices in jazz. Even within current operatic practice, contraltos are often classed as mezzo-sopranos, because singers in each range are used to cover for those in the other. The term "contralto" is only applied to female singers; men singing in a similar range are called "countertenors".^[2] The Italian terms "contralto" and "alto" are not synonymous, the latter technically denoting a specific vocal range in choral singing without regard to factors like tessitura, vocal timbre, vocal facility, and vocal weight.^[4]

Within the category of contraltos are three generally recognized subcategories—coloratura contralto, lyric contralto, and dramatic contralto—that usefully describe the voice type in general terms. Note, however, that they do not always apply with precision to individual singers; some exceptional dramatic contraltos, such as Ernestine Schumann-Heink and Sigrid Onégin, were technically equipped to perform not only heavy, dramatic music by the likes of Wagner but also florid compositions by Donizetti.

Coloratura contralto

Coloratura contraltos—who have light, agile voices ranging very high for the classification and atypically extensive coloratura and high sustaining notes—specialize in florid passages and leaps. Given its deviations from the classification's norms, this voice type is quite rare.

Lyric contralto

A lyric contralto voice is lighter than a dramatic contralto but not capable of the ornamentation and leaps of a coloratura contralto. This class of contralto, lighter in timbre than the others, is the most common today and usually ranges from the E below middle C (E₃) to the second G above middle C (G₅).

Dramatic contralto

The dramatic contralto is the deepest, darkest, and heaviest contralto voice, usually having a heavier tone and more power than the others. Singers in this class are rare.

Rarity

A true contralto is often regarded by some as the most rare of the female voice, and is present in as few as one percent of the population. Some vocal theorists have found that the vocal folds (often incorrectly called "vocal cords") are thicker than those present in other female voices.^[5] Studies have used cameras to photograph visible differences which are also found in countertenors.^[5]

Contralto roles in opera

True operatic contraltos are rare, and the operatic literature contains few roles written specifically for them. Contraltos sometimes are assigned feminine roles like Angelina in La Cenerentola, Rosina in The Barber of Seville, Isabella in L'italiana in Algeri, and Olga in Eugene Onegin, but more frequently they play female villains or assume trouser roles originally written for castrati. A common saying among contraltos is that they may play only "witches, bitches, or britches."^[6]

Examples of contralto roles in the standard operatic repertoire include the following:.^[6]

^* indicates a role that may also be sung by a mezzo-soprano.

See also

• Category of contraltos
• List of operatic contraltos
• List of contraltos in non-classical music
• Fach, the German system for classifying voices
• Voice classification in non-classical music

References

1. ↑ 1.0 1.1 McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN 978-1-56593-940-0. 
2. ↑ 2.0 2.1 Appelman, D. Ralph (1986). The Science of Vocal Pedagogy: Theory and Application. Indiana University Press. ISBN 978-0-253-20378-6. 
3. ↑  Chisholm, Hugh, ed. (1911). "Contralto". Encyclopædia Britannica (11th ed.). Cambridge University Press. 
4. ↑ Stark, James (2003). Bel Canto: A History of Vocal Pedagogy. University of Toronto Press. ISBN 978-0-8020-8614-3. 
5. ↑ 5.0 5.1 Weinstein, Terry (1981). Voice Training: A Scientific Approach. University Press. 
6. ↑ 6.0 6.1 Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing Company. ISBN 978-1-877761-64-5. 

Further reading

• Coffin, Berton (1960). Coloratura, Lyric and Dramatic Soprano, Vol. 1. Rowman & Littlefield Publishers, Inc. ISBN 978-0-8108-0188-2. 
• Peckham, Anne (2005). Vocal Workouts for the Contemporary Singer. Berklee Press Publications. ISBN 978-0-87639-047-4. 
• Smith, Brenda (2005). Choral Pedagogy. Plural Publishing, Inc. ISBN 978-1-59756-043-6. 

External links

• Media related to Contralto vocalists at Wikimedia Commons
• The dictionary definition of contralto at Wiktionary