O P E R AT I C VOICE T YPES Opera began in the late 16th century in Florence, Italy as an experiment by the Florentine Camerata. Composers quickly started writing in this new form because of the high demand, and it allowed them to better express themselves through different emotions and dramatic situations. From the beginning and throughout the Baroque period, opera was about experimentation; everything was new. Virtuosity and flexibility overshadowed if the gender of the performer matched with the gender of the role. Composers insisted that the most skilled singers had the most important roles. During the second half of the 18th century, the voice parts became linked to the various roles of the opera. Voice classification is how vocal ranges classify singers; how high or low s/he can sing. The distinction between the different voice types dictated which characters or roles the person would sing. The seven main categories of singing voice types from highest to lowest are as follows: Soprano – the highest female voice, with a
traditional range of middle C to the A two octaves above that. Soprano is typically the voice of the female protagonist; heroine of the story, projecting innocence and youth.
by the late 17th century, but fell out of popularity, their roles replaced by the mezzo-sopranos. However, modern 20th21st century composers have utilized countertenors more often. Tenor – it is generally consider the tenor
Mezzo-Soprano – slightly lower than the
soprano, with a range usually G below middle C to the Bb two octaves above. They are often supporting roles of motherly types or villains and will often sing the trouser roles—portraying the boys or young men—since the countertenor fell out of popularity after the 17th century. In recent years, many of the trouser roles are being reclaimed by the countertenors, as their popularity has gained ground starting in the mid-20th century. Contralto – the lowest female voice, with
a range of the F below middle C to the second G above middle C. It is a rare voice type, and is often sung by mezzo-sopranos. It is the darkest in timbre and is reserved for specialty roles, such as grandmothers, noble witches, and goddesses. Countertenor – the highest male voice,
with a range that is similar to the contralto: A below middle C to the F an octave and a half above middle C. These men achieve their high range through bridging their chest voice with their head voice (falsetto). Countertenors were the leading role in Italian opera
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as the highest male voice, without giving credit to the countertenor, with a range of D below middle C to the C above middle C. Beginning in the Classical era, the tenor has been assigned the role of the male protagonist; as is most often the hero or the love interest of the story. Baritone – the most common male voice
type, with a range midway between tenor and bass, with a range of A an octave below middle C to the G above middle C. The term baritone was not standardized until the mid-19th century. The baritone is often the comical leader, but can also be the hero that sacrifices himself for the tenor, soprano, or villain. Bass – the lowest and darkest of the
male voices, with a range of E almost two octaves below middle C to the F above middle C. The basso can portray characters who convey wisdom or nobility, but also comedic characters.