| Voice type |
Female voices
Male voices |
In music, a contralto is a type of classical female singing voice with a vocal range somewhere between a tenor and a mezzo-soprano. The term is used to refer to the deepest female singing voice. The typical contralto range lies between the F below middle C (F3) to two Fs above middle C (F5). In the lower and upper extremes, some contralto voices can sing from the E below middle C (E3) to two B♭s above middle C (B♭5).[1] The contralto voice has the lowest tessitura of the female voices and is noted for its rich and deep vocal timbre. 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.[2]
The term contralto is not synonymous with the term alto which designates a specific part within choral music and is not a voice type. Technically, "alto" is only a separate category in choral music where it refers simply to the vocal range and does not consider factors like vocal tessitura, vocal timbre, vocal facility, and vocal weight.[3] For information regarding non-classical singers see Voice classification in non-classical music.
Although both men and women may have voices in the contralto vocal range, the word is always used in the context of a female singer. Men singing in the contralto, mezzo-soprano, or soprano range are called countertenors.[2]
Contraltos are fairly rare in opera, since there is very little work that was written specifically for them. Most of the time, contralto roles are limited to playing male figures that were originally intended to be performed by castrato singers or playing female villains such as witches, but they do occasionally get to play more feminine roles – such as Angelina in La Cenerentola; Rosina in The Barber of Seville, and Olga in Eugene Onegin. A common saying among contraltos is that they're only allowed to play 'witches', 'bitches', or 'britches'.[4]
Contents |
Contralto roles in operas and musical theater
The following is a list of examples of contralto roles in the standard operatic repertoire[4].
* : Indicates a role that may also be sung by a mezzo-soprano.
Operatic contraltos
- Main article: List of operatic contraltos
Contraltos in popular music
- Main article:
List of contraltos in non-classical music
See also
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Wikisource has the text of the 1911 Encyclopædia Britannica article Contralto. |
References
- ^ McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN 978-1565939400.
- ^ a b Appelman, D. Ralph (1986). The Science of Vocal Pedagogy: Theory and Application. Indiana University Press. ISBN 978-0253203786.
- ^ Stark (2003), Bel Canto: A History of Vocal Pedagogy, cited below
- ^ a b Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing Company. ISBN 9781877761645.
Further reading
- Appelman, D. Ralph (1986). The Science of Vocal Pedagogy: Theory and Application. Indiana University Press. ISBN 978-0253203786.
- Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing Company. ISBN 9781877761645.
- Coffin, Berton (1960). Coloratura, Lyric and Dramatic Soprano, Vol. 1. Rowman & Littlefield Publishers, Inc.. ISBN 9780810801882.
- Peckham, Anne (2005). Vocal Workouts for the Contemporary Singer. Berklee Press Publications. ISBN 978-0876390474.
- Smith, Brenda (2005). Choral Pedagogy. Plural Publishing, Inc. ISBN 978-1597560436.
- Stark, James (2003). Bel Canto: A History of Vocal Pedagogy. University of Toronto Press. ISBN 978-0802086143.
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