Renata Scotto and Leontyne Price are both lyric sopranos. No way is Scotto an assoluta. She took on Maria's assoluta repertoire, pushing her voice beyond its limit, hence the early decline to her voice. She became more inconsistent. Price doesn't have enough dramatic weight to be a true spinto. She even referred to herself as a "juicy lyric."
@@DanielFerreira-hz4cc She had low chest notes like a contralto even at a really young age. She darkened that is why lot of people believe that Price was a true dramatic soprano, which she wasn't but a rich spinto, like Tomowa-Sintow, Tebaldi or Milanov, yes.
One problem with classifying female voices (I've read) is that women tend to have larger vocal ranges than men so there's a lot of overlap both in singers and what they can do (which changes over time) and parts whose assignments also change over time and in different places (anna in der freischutz used to be sung by mezzos in Italy, adalgisa began as a soprano role too). Mens' voices tend to fall into more discrete categories. The biggest differences for women are less in tessitura but in power and timbre and the contralto, mezzo, soprano distinction seems less than completely useful. It seems weird for Nilsson and Gruberova (for example) to be in the same category (though the idea of them sharing roles is..... weird) while Tebaldi and Simionato (who both sang Santuzza) are in different categories.
I'm sure that Cecilia Bartoli is not a mezzo-soprano, because she reaches notes that no true mezzo-soprano would reach even if he trained hard every day, like: E♭6,(sustained for three and a half seconds) E6 , F6, F♯6. ua-cam.com/video/myfj2dvAuRU/v-deo.html&feature=share8 ua-cam.com/video/3zUD86il4iA/v-deo.html&feature=share8 A mezzo-soprano can reach a maximum of C6 and with many harmonics. Even ordinary sopranos can't reach it, as they are too high, because they are leggero soprano notes, even if a heavier soprano could reach this high pitches, they would sound more darker. She sang light soprano roles on stage such as: Zerlina, Susanna, Despina, Amina. And the low notes she reaches, which are at best a A3 with good projection, are nothing special for a soprano. I think she preferred to be classified as a mezzo-soprano so she didn't have to improve her high register and use it more often. Her voice, like Joyce Didonato's voice, lacks a bit of drama. They didn't even get to play roles on stage like Carmen, who every self-respecting mezzo has sung at least once in her life.
The video does not say she is a mezzo, Dugazon is a soprano/mezzo hybrid. A light soprano voice with strong mezzoish bottom. Bartoli is fair to categorized like this.
OMG! You highlighted all my favourite voices.Fantastic renditions of all the greats.Thanks a million for your most enlightening and enjoyable program 🎊 🎉🎉
What a wonderful video! Thank you so much. I always felt Horne was a coloratura contralto, Bartoli I felt was a highly trained subrette... all categories kind of bleed over because every instrument is different. I agree with almost every categorization you used however. I loved the explanations you gave. This is a really wonderful well informed video. Thank you so much!!@
Except a lot of the classification terminology here is misused. There has never been a lyric or coloratura contralto classification in Italian, German or French school. And the video mashes different systems together when they do not belong together. Also the tessitura listed is nonsense.
@@KajiVocals it must be an American invention. I learned chest, medium, and head registers growing up, also the soft and hard Attack. Now they say "Onset". Changing terms causes confusion. The real experts didn't have a degree in "expert" . Historically they just were experts by their reputation, study and practice...
@@jimbuxton2187 Yeah, the coloratura subcategories are a very recent invention. And an American one. Which is why I say it does not really belong with the rest of these which are from different systems. It's not a fach (most of these are not in fact). It's not a French classification either (a fairly obscure system overall, most favour using the Italian one). And certainly not an Italian system classification. The term 'vocal onset' has existed since the mid-1900s. Douglas Stanley was one of the first to have used it. There is a lot of confusion with changing terminology indeed however, you're right. For example the old Rossini and Bellini 'contralto' roles. They were only called contralto roles because at the time the mezzo-soprano term has not existed, and later it was a new invention and a rather controversial one so they did not use it. If I remember correctly the first mention I've seen of the mezzo term was in an unofficial score of Rossini's opera L'italiana in Algeri from 1819. But the term 'mezzo-soprano' has not gained mainstream popularity until the 1900s. You will see even with some more modern (relatively) singers such as Fedora Barbieri and Louise Kirkby-Lunn, the term 'contralto' being used when most of their repertoire was that of a mezzo-soprano, even their teachers both classified them as such. Louise was even a principal mezzo for a few opera houses. That being said Barbieri always struggled with the high tessitura, Louise did not. But that's a technical issue, not a voice type issue. Some terms being very similar to each other also cause confusion and them being used by misinformed people throughout the history aids that confusion. Such as the 'soprano sfogato' vs 'soprano acuto sfogato' terms. Or the 'baritenor' term of the Rossini opera scene. Overall, terminology history is very messy and sites like Wikipedia only add to the confusion because they mash all of the terminology in together... Also yes, categories bleed over each other because most singers are categoried because of their specialisation not biology. If only biology was considered, Ludwig and Simionato would be sopranos. They are mezzos because that's what they specialised in, not because of their biology.
@@KajiVocals simionato is a soprano? She's not exactly a mezzo? Also, she said she's a soprano tho. Yeah, baritenor and heldentenor is totally a dramatic tenor with different kinds of achievements
Horne even consider herself as a contralto but a lighter one. Some people think every contralto has to sound like Clara Butt which is ridicolous. Horne has definitely androgynous tone and shined at her low register but she has never been a dramatic voice, she struggled roles like Eboli or Azucena and her soprano recordings are mess as hell. She definitely shined in Rossinis contralto roles (I really do believe also in a voice type which has to be called "mezzo-contralto", just like a "bass-baritone" or "Falcon/Zwischenfach") Tancredi or Isabella are in fact contralto range and do not require the same vocal capabilities like an Amneris, Fricka, Boullion or Azucena...if some "new" school realized that there are differencies between subtypes of a certain vocal fach it is just an improvement of a science, that is why lot of opera singers in the past had sung everything which did not fit to their voice and the careers lasted after 10-15 years. They sang much more exciting and dramatic and more squillo than today for sure.... every school has their pluses and negatives. Baritone and mezzo-soprano were not even known expressions in baroque or classicism but with the improvement of vocal sciences they realizes there are more voice types than just the 4 choral.
Your video is amazing, I only have two comments: the small divisions between voices are called fachs, but probably someone already told you that, and the lowest female voice I've ever heard in non-operatic music with certain technique is Lisa Gerrard's, she sings in a group called Dead Can Dance, I really suggest you could hear "Yulunga" from Dead Can Dance where she displays what I think are her lowest notes.
I watched a video where Cecilia Bartoli was interviewed on a spanish show and while I was listening I didn't exactly percieved her voice as a mezzo, she spoke slightly higher for a so-called mezzo. But it is so complex to classify an opera singer with a hybrid timbre as hers. All the opera singers described here are extraordinary. All in all, I congratulate you for doing this amazing video.
I don't believe a speaking voice will tell you if a singing voice is soprano or mezzo, as you describe for Cecilia Bartoli. Remember Beverly Sills' speaking voice? Quite low. Remember her soprano singing voice? Quite high.
a brief not on the contralto, 2011 i saw the performance of "Il coronazione di poppea", Rebecca Raffell sang the part of Arnalda. I wonder which deep tones she sang, so i had a look into the scores, the deepest tone was d4 ... nothing special... the sound of her voice was like a dark baritone. I was sure that she sang the whole role one octave deeper than written, but now i wonder if that could have been true. Unfortunately the classical voice of Rebecca Raffell is not documented at UA-cam, would be interesting to hear her again.
Oh thank you so much, I've been looking so hard to find a solid assessment of what voice type I am. I sing perfectly in Marylin Monroe's range, but they were saying she was C4-F6 for some reason? I was just barking up the wrong tree, I fit the bill for the Lyric Mezzo-Soprano 🥰
Дизлайк вам только за то, что отнесли Гену Димитрову к обычному драматическому сопрано. По мощи и громкости голоса она превосходила ту же Биргит Нильссон. Да, она не пела Вагнера, но ведь дело не в репертуаре, а в характеристиках голоса.
Callas pouvait chanter tous les extraits d'airs proposés ici ,et avec toutes les notes : de Carmen , à Wagner ,en passant par Santuzza ,puis Bellini ( somnambula ,Norma ,puritani ) ,Verdi, Donizetti ,et Rossini ( Armida ), et en concert ,les variations de Proch ,l'air de Dinorah ,la folie d'Ophelie ,et l'air des clochettes de Lakme ,et toujours avec toutes les notes , documents en témoignent .
Oui mais pour l'air des clochettes sa voix ne va pas du tout par exemple son timbre n'est pas fait pour cet air qui doit imiter le son clair des clochettes c'est Delibes qui l'a créé ainsi et les sopranos légers coloratoures sont le genre de voix le plus approprié pour cet air de lakmé selon moi.
@@professionalsinger17 bien sûr vous avez parfaitement raison ,la tessiture et la couleur de voix demandée pour Lakme n'est pas du tout le style de voix de Callas . Elle a voulu l'essayer par défi et pour tester ses propres limites ,comme un jeune sportif de haut niveau .Et à l'époque elle possédait des moyens considérables,parfois au détriment du goût musical ( le contre mi bémol rajouté à Mexico dans la cabalette du premier air de Leonora dans Trovatore est inutile et affreux ) celui qui couronne la scène triomphale dans Aida ,toujours à Mexico ,est fantastique et inédit . Mais pour en revenir à Lakme ,c'est Mado Robin et surtout Mady Mesple qui sont mes favorites ( et pas Dessay !!).
Amazing voices all of them but there will never be another Jessye Norman. In my opinion, the best dramatic Soprano ever. The Liebestod have never been sung better than Miss Norman.
I have enjoyed your video, incredibly, UNBELIEVABLY, so, so, so, so, MUCH!!!! Listen, Your Advertisers, and, You Tube, must---- HAVE TO---- APPRECIATE YOU($)---- LOVE YOU($)---- VERY, VERY MUCH!!!!
В качестве уникального голоса вы явно упустили Астрид Варнай. Традиционно её относят к вагнеровскому сопрано, но она также шикарна в репертуаре драматического меццо-сопрано и у неё даже были ноты контральто во всей мощи и объёме.
Theres no lyric contralto, Bartoli is closer a soprano voice has no low notes, she makes dark voice using chest, Malena ernmann has a even larger range than bartoli, Fa's!!! and lower notes, she's a mezzo, Dugazon is not a type is a style of singing
Thanks for The Video but I was wondering if someone could help me out. I want to study opera singing and I have singing lessons now but I still don’t really know what I am. The majority of the people I asked say mezzo whereas one says alto. I’m not a professional musician but testing my voice is at my lowest is B2/C3 and my highest kinda a C6 but very badly. I hope I wrote down the right notes😅 Any ideas?
I really can't agree with Damrau being a lyric coloratura. Her voice isn't light AT ALL, it's quite large and powerful which makes her agility all the more impressive. I've always considered her a dramatic coloratura. I'd also put Pons in the sfogato area. She could do the same stuff as Robin could, and just as easily. They had very similar tones as well.
Diana's voice is not only light, it's a small instrument. She said, a few times, in interviews that her voice-role model has always been Kathleen Battle, precisely because the voices are, in her own words, "very similar".
@@pedroribeiro7675 No snark intended which I feel like I have to clarify on the internet. But Damrau and Battle don’t sound similar at all, nor is their catalogue of work that similar. They’ve both have done some of the same roles but even with the few that overlap, their vocal approaches are entirely different. And Battle has done way more concert work of material that was strictly made for concert performance such as early music, Baroque, etc. Battle’s voice was practically made for that stuff, while I can’t imagine Damrau singing much, if any, of it to save my life. It doesn’t have the lightness of tone that is necessary for it. Damrau has impressive agility but her voice is still is heftier, richer, and more steely than Battle’s very sweet, bell like sound. It’s why Damrau’s QOTN became the gold standard 15 or so years ago and that still holds to this day even though she retired the role. Her voice has the range and agility but also the power and heft that is extremely rare to find, which makes that role difficult to cast. Genuinely asking to help me understand how they’re that similar…if I were behind a casting table, I’d be hiring them for vastly different things.
@@jenniferhiemstra5228 Older Battle's Una voce poco fa (ua-cam.com/video/aqdS2J-A_Vk/v-deo.html), to my ears, enhance the similarities even further - her sound is heftier.
Just a quick correction: By definition there are no lyric contralto voices within the official fach system. Neither are there coloratura contraltos. And even whether or not "coloratura mezzo-soprano" is a thing is debatable.
You can apply it, but some terms are useless. You don't really have coloratura in popular singing for example. You can mostly just stick to the very basic classifications.
Deutekom sang Turandot. She is not a Soubrette. She has a hard to categorize voice, so everything from a “Dramatic Coloratura” to “Spinto/Dramatic soprano with high extension” would be a fitting label.
Very confusing video. Fachs are: Contralto, mezzosoprano, dramatic soprano, spinto soprano, lyric soprano & coloratura. So many singers here are put in wrong categories too which surely are going to confuse many listeners.
To be technical, this is incorrect. Spinto isn’t a fach. Spinto is an Italian term. This is the true fächer system: FACH SYSTEM: Soubrette, lyrischer koloratursopran, dramatischer koloratursopran, lyrischer sopran, jugendlich-dramatischer sopran (equivalent to spinto), dramatischer sopran, charaktersopran, hochdramatischer sopran Lyrischer mezzosopran, dramatischer mezzosopran Dramatischer alt, tiefer alt Spieltenor, lyrischer tenor, jugendlicher heldentenor (equivalent to spinto tenor), charaktertenor, heldentenor Lyrischer bariton, kavalierbariton, charakterbariton, heldenbariton Spielbass, charakterbass, seriöser bass. I took it from a 100+ years old book. Most people misuse the term fäch and merge it with the Italian and French systems which are very different.
There are dramatic mezzo-sopranos and lyric mezzo-sopranos. Contraltos are divided into dramatic (which in this case means a high contralto) and low contraltos.
Good Lord Yma Sumac is from another dimension 😮. The talent is astounding 🙌🏼🙌🏼🙌🏼🔥🔥🔥
Bartoli is a spinto soprano with trained agility of a coloratura and sold as a mezzo to spark debate. There i've said it. Dont hate me 😂
Lmao I LOVE it. That’s a great way to describe her voice✨
I’ve always thought she was a Soprano also!
Man, one can’t record Amina and Norma and still be classified as mezzo. She’s probably what the 19th Century scholars would call “Soprano Sfogato”
Renata Scotto and Leontyne Price are both lyric sopranos. No way is Scotto an assoluta. She took on Maria's assoluta repertoire, pushing her voice beyond its limit, hence the early decline to her voice. She became more inconsistent. Price doesn't have enough dramatic weight to be a true spinto. She even referred to herself as a "juicy lyric."
Scotto and Bartoli are out of comparison here 🤣
when there are singers like Podles, Shirley Verret, Caballe, Callas, Deutekom and Hallstein
I agree with your assessment of these two Sopranos.
Juicy lyric, so spinto :D her voice timbre is too dark to call her a lyric. A real juicy, full lyric soprano is Caballe.
@@davidmuller9938 She darkned her voice, Zinka MIlanov is a true spinto
@@DanielFerreira-hz4cc She had low chest notes like a contralto even at a really young age. She darkened that is why lot of people believe that Price was a true dramatic soprano, which she wasn't but a rich spinto, like Tomowa-Sintow, Tebaldi or Milanov, yes.
One problem with classifying female voices (I've read) is that women tend to have larger vocal ranges than men so there's a lot of overlap both in singers and what they can do (which changes over time) and parts whose assignments also change over time and in different places (anna in der freischutz used to be sung by mezzos in Italy, adalgisa began as a soprano role too). Mens' voices tend to fall into more discrete categories.
The biggest differences for women are less in tessitura but in power and timbre and the contralto, mezzo, soprano distinction seems less than completely useful. It seems weird for Nilsson and Gruberova (for example) to be in the same category (though the idea of them sharing roles is..... weird) while Tebaldi and Simionato (who both sang Santuzza) are in different categories.
Santuzza could be sung by both soprano or mezzo.
I'm sure that Cecilia Bartoli is not a mezzo-soprano, because she reaches notes that no true mezzo-soprano would reach even if he trained hard every day, like: E♭6,(sustained for three and a half seconds) E6 , F6, F♯6.
ua-cam.com/video/myfj2dvAuRU/v-deo.html&feature=share8 ua-cam.com/video/3zUD86il4iA/v-deo.html&feature=share8
A mezzo-soprano can reach a maximum of C6 and with many harmonics. Even ordinary sopranos can't reach it, as they are too high, because they are leggero soprano notes, even if a heavier soprano could reach this high pitches, they would sound more darker. She sang light soprano roles on stage such as: Zerlina, Susanna, Despina, Amina. And the low notes she reaches, which are at best a A3 with good projection, are nothing special for a soprano. I think she preferred to be classified as a mezzo-soprano so she didn't have to improve her high register and use it more often. Her voice, like Joyce Didonato's voice, lacks a bit of drama. They didn't even get to play roles on stage like Carmen, who every self-respecting mezzo has sung at least once in her life.
I totally agree with you! I always have said, she is a Soprano!
@@uchennaechebelem7227Listen to the examples I've edited in the this comment up.
I think that a true coloratura mezzo-soprano is Agnes Baltsa.
The video does not say she is a mezzo, Dugazon is a soprano/mezzo hybrid. A light soprano voice with strong mezzoish bottom. Bartoli is fair to categorized like this.
It's not too uncommon for a soprano to have extended lower range
It's not too uncommon for every voice type to sing higher or lower than their comfortable range
OMG! You highlighted all my favourite voices.Fantastic renditions of all the greats.Thanks a million for your most enlightening and enjoyable program 🎊 🎉🎉
What a wonderful video! Thank you so much. I always felt Horne was a coloratura contralto, Bartoli I felt was a highly trained subrette... all categories kind of bleed over because every instrument is different. I agree with almost every categorization you used however. I loved the explanations you gave. This is a really wonderful well informed video. Thank you so much!!@
Except a lot of the classification terminology here is misused. There has never been a lyric or coloratura contralto classification in Italian, German or French school. And the video mashes different systems together when they do not belong together.
Also the tessitura listed is nonsense.
@@KajiVocals it must be an American invention. I learned chest, medium, and head registers growing up, also the soft and hard Attack. Now they say "Onset". Changing terms causes confusion. The real experts didn't have a degree in "expert" . Historically they just were experts by their reputation, study and practice...
@@jimbuxton2187 Yeah, the coloratura subcategories are a very recent invention. And an American one. Which is why I say it does not really belong with the rest of these which are from different systems. It's not a fach (most of these are not in fact). It's not a French classification either (a fairly obscure system overall, most favour using the Italian one). And certainly not an Italian system classification. The term 'vocal onset' has existed since the mid-1900s. Douglas Stanley was one of the first to have used it.
There is a lot of confusion with changing terminology indeed however, you're right. For example the old Rossini and Bellini 'contralto' roles. They were only called contralto roles because at the time the mezzo-soprano term has not existed, and later it was a new invention and a rather controversial one so they did not use it. If I remember correctly the first mention I've seen of the mezzo term was in an unofficial score of Rossini's opera L'italiana in Algeri from 1819. But the term 'mezzo-soprano' has not gained mainstream popularity until the 1900s. You will see even with some more modern (relatively) singers such as Fedora Barbieri and Louise Kirkby-Lunn, the term 'contralto' being used when most of their repertoire was that of a mezzo-soprano, even their teachers both classified them as such. Louise was even a principal mezzo for a few opera houses. That being said Barbieri always struggled with the high tessitura, Louise did not. But that's a technical issue, not a voice type issue.
Some terms being very similar to each other also cause confusion and them being used by misinformed people throughout the history aids that confusion. Such as the 'soprano sfogato' vs 'soprano acuto sfogato' terms. Or the 'baritenor' term of the Rossini opera scene. Overall, terminology history is very messy and sites like Wikipedia only add to the confusion because they mash all of the terminology in together...
Also yes, categories bleed over each other because most singers are categoried because of their specialisation not biology. If only biology was considered, Ludwig and Simionato would be sopranos. They are mezzos because that's what they specialised in, not because of their biology.
@@KajiVocals simionato is a soprano? She's not exactly a mezzo? Also, she said she's a soprano tho.
Yeah, baritenor and heldentenor is totally a dramatic tenor with different kinds of achievements
Horne even consider herself as a contralto but a lighter one. Some people think every contralto has to sound like Clara Butt which is ridicolous. Horne has definitely androgynous tone and shined at her low register but she has never been a dramatic voice, she struggled roles like Eboli or Azucena and her soprano recordings are mess as hell. She definitely shined in Rossinis contralto roles (I really do believe also in a voice type which has to be called "mezzo-contralto", just like a "bass-baritone" or "Falcon/Zwischenfach") Tancredi or Isabella are in fact contralto range and do not require the same vocal capabilities like an Amneris, Fricka, Boullion or Azucena...if some "new" school realized that there are differencies between subtypes of a certain vocal fach it is just an improvement of a science, that is why lot of opera singers in the past had sung everything which did not fit to their voice and the careers lasted after 10-15 years. They sang much more exciting and dramatic and more squillo than today for sure.... every school has their pluses and negatives. Baritone and mezzo-soprano were not even known expressions in baroque or classicism but with the improvement of vocal sciences they realizes there are more voice types than just the 4 choral.
Very good effort, with wide-ranging examples.
Your video is amazing, I only have two comments: the small divisions between voices are called fachs, but probably someone already told you that, and the lowest female voice I've ever heard in non-operatic music with certain technique is Lisa Gerrard's, she sings in a group called Dead Can Dance, I really suggest you could hear "Yulunga" from Dead Can Dance where she displays what I think are her lowest notes.
So many of the singers here are terrible. A few who could sing are Dame Clara Butt, Shirley Verett, early Maria Callas, I might have missed a few.
Thank you for comparing the voices with the SAME SONG. That helps a lot
I watched a video where Cecilia Bartoli was interviewed on a spanish show and while I was listening I didn't exactly percieved her voice as a mezzo, she spoke slightly higher for a so-called mezzo. But it is so complex to classify an opera singer with a hybrid timbre as hers.
All the opera singers described here are extraordinary.
All in all, I congratulate you for doing this amazing video.
@The Scalla Simionato is a soprano with a short top. Dramatic soprano singing mezzo. But the rest I agree.
Bartoli is a soprano.
Bartoli sings like a chicken...
@@KajiVocals of course she is. Small voice, not even" bella." And then there are her "faces." It's no wonder that she doesn't sing here in Italy!
I don't believe a speaking voice will tell you if a singing voice is soprano or mezzo, as you describe for Cecilia Bartoli. Remember Beverly Sills' speaking voice? Quite low. Remember her soprano singing voice? Quite high.
This is really awesome, thank you for all the hard work that went into this video!
a brief not on the contralto, 2011 i saw the performance of "Il coronazione di poppea", Rebecca Raffell sang the part of Arnalda. I wonder which deep tones she sang, so i had a look into the scores, the deepest tone was d4 ... nothing special...
the sound of her voice was like a dark baritone. I was sure that she sang the whole role one octave deeper than written, but now i wonder if that could have been true. Unfortunately the classical voice of Rebecca Raffell is not documented at UA-cam, would be interesting to hear her again.
It could have just been due to her timbre, or maybe she embellished it by going lower than the score in some areas?
Thank you for sharing Galina Baranova, a true contralto. I love her voice😊😊😊
Oh thank you so much, I've been looking so hard to find a solid assessment of what voice type I am. I sing perfectly in Marylin Monroe's range, but they were saying she was C4-F6 for some reason? I was just barking up the wrong tree, I fit the bill for the Lyric Mezzo-Soprano 🥰
Montserrat caballe was the greatest ever , lyric soprano with ample spinto💖💝💘
5:42 I think that Bartoli is Dugazon... Confortable in lower tessitura that a soprano but higher than coloratura mezzo
Galli-Marie aka Dugazon and coloratura mezzo are the same in my opinion 🤷♂
Дизлайк вам только за то, что отнесли Гену Димитрову к обычному драматическому сопрано. По мощи и громкости голоса она превосходила ту же Биргит Нильссон. Да, она не пела Вагнера, но ведь дело не в репертуаре, а в характеристиках голоса.
Precious voices: soprano acuto - sfogato. My favorites voices! Thanks for this excellent study.
bro doesn't know what tessitura stands for 🤡
Callas pouvait chanter tous les extraits d'airs proposés ici ,et avec toutes les notes : de Carmen , à Wagner ,en passant par Santuzza ,puis Bellini ( somnambula ,Norma ,puritani ) ,Verdi, Donizetti ,et Rossini ( Armida ), et en concert ,les variations de Proch ,l'air de Dinorah ,la folie d'Ophelie ,et l'air des clochettes de Lakme ,et toujours avec toutes les notes , documents en témoignent .
Maria Callas was truly an operatic monster.
Oui mais pour l'air des clochettes sa voix ne va pas du tout par exemple son timbre n'est pas fait pour cet air qui doit imiter le son clair des clochettes c'est Delibes qui l'a créé ainsi et les sopranos légers coloratoures sont le genre de voix le plus approprié pour cet air de lakmé selon moi.
@@professionalsinger17 bien sûr vous avez parfaitement raison ,la tessiture et la couleur de voix demandée pour Lakme n'est pas du tout le style de voix de Callas .
Elle a voulu l'essayer par défi et pour tester ses propres limites ,comme un jeune sportif de haut niveau .Et à l'époque elle possédait des moyens considérables,parfois au détriment du goût musical ( le contre mi bémol rajouté à Mexico dans la cabalette du premier air de Leonora dans Trovatore est inutile et affreux ) celui qui couronne la scène triomphale dans Aida ,toujours à Mexico ,est fantastique et inédit .
Mais pour en revenir à Lakme ,c'est Mado Robin et surtout Mady Mesple qui sont mes favorites ( et pas Dessay !!).
Mais elle n'a pas le magnifique mi grave de Madame Clara Butt ;-)
@@DCBfanboy certainement car elle n'était pas contralto .Et madame Butt n'avait pas non plus le contre mi bémol .
One minor correction: She is (was) Deutekom, not Duetekom (even though Duetekom might be so nice a name).
Amazing voices all of them but there will never be another Jessye Norman. In my opinion, the best dramatic Soprano ever. The Liebestod have never been sung better than Miss Norman.
I have enjoyed your video, incredibly, UNBELIEVABLY, so, so, so, so, MUCH!!!!
Listen,
Your Advertisers, and, You Tube, must---- HAVE TO---- APPRECIATE YOU($)---- LOVE YOU($)---- VERY, VERY MUCH!!!!
В качестве уникального голоса вы явно упустили Астрид Варнай. Традиционно её относят к вагнеровскому сопрано, но она также шикарна в репертуаре драматического меццо-сопрано и у неё даже были ноты контральто во всей мощи и объёме.
Wonder what Lucia Pop would have been considered?
In this video, she's categorized as lyric-coloratura soprano.
Thank you, very informative.
HallEstein ?
Theres no lyric contralto, Bartoli is closer a soprano voice has no low notes, she makes dark voice using chest, Malena ernmann has a even larger range than bartoli, Fa's!!! and lower notes, she's a mezzo, Dugazon is not a type is a style of singing
"It's a new style of saying: basso-profondo, basso-cantabile, basso-baritono ... soprano-leggiero, leggiero-spinto, leggiero-I-don't-know-what. It's SOPRANO. Basta! (Maria Callas, ua-cam.com/video/ZVUsVSBVXxQ/v-deo.html and ua-cam.com/video/pYg2sCzuWGY/v-deo.html)
20:02 what the heck bro
uah! 💥⚡💥⚡💥 🐻👍👍👍
❤
Most interesting and timeless video composition. Thank you!
I did learn a few interesting things from this video!
An effing fantastic video
А Джесси Норман по тембру ближе к фальконе, хотя по мне так фальконе это хорошо развитое меццо.
this was cool until Ponselle and Boninsegna exist. HAHAHAHA
Amazing video, thank you.
Thanks for the informative video!
Thanks for The Video but I was wondering if someone could help me out. I want to study opera singing and I have singing lessons now but I still don’t really know what I am. The majority of the people I asked say mezzo whereas one says alto. I’m not a professional musician but testing my voice is at my lowest is B2/C3 and my highest kinda a C6 but very badly. I hope I wrote down the right notes😅 Any ideas?
Идите к педагогу, сами вы не сможете правильно определить тембр
0:54 can somebody tell me what clip is that from?
you forget 2 voices. the call of the white cheecked gibon and indri indri. the most amazing voices i have ever heard
Where are the Orientals E.g. Sumi Jo..
te faltaron los contratenores y sopranistas son fantasticos y van desde contraltos asta coloratura como dimass oooojjjoooo😅
I really can't agree with Damrau being a lyric coloratura. Her voice isn't light AT ALL, it's quite large and powerful which makes her agility all the more impressive. I've always considered her a dramatic coloratura. I'd also put Pons in the sfogato area. She could do the same stuff as Robin could, and just as easily. They had very similar tones as well.
Diana's voice is not only light, it's a small instrument. She said, a few times, in interviews that her voice-role model has always been Kathleen Battle, precisely because the voices are, in her own words, "very similar".
@@pedroribeiro7675 No snark intended which I feel like I have to clarify on the internet. But Damrau and Battle don’t sound similar at all, nor is their catalogue of work that similar. They’ve both have done some of the same roles but even with the few that overlap, their vocal approaches are entirely different.
And Battle has done way more concert work of material that was strictly made for concert performance such as early music, Baroque, etc. Battle’s voice was practically made for that stuff, while I can’t imagine Damrau singing much, if any, of it to save my life. It doesn’t have the lightness of tone that is necessary for it. Damrau has impressive agility but her voice is still is heftier, richer, and more steely than Battle’s very sweet, bell like sound. It’s why Damrau’s QOTN became the gold standard 15 or so years ago and that still holds to this day even though she retired the role. Her voice has the range and agility but also the power and heft that is extremely rare to find, which makes that role difficult to cast.
Genuinely asking to help me understand how they’re that similar…if I were behind a casting table, I’d be hiring them for vastly different things.
@@jenniferhiemstra5228 Older Battle's Una voce poco fa (ua-cam.com/video/aqdS2J-A_Vk/v-deo.html), to my ears, enhance the similarities even further - her sound is heftier.
Just a quick correction: By definition there are no lyric contralto voices within the official fach system. Neither are there coloratura contraltos. And even whether or not "coloratura mezzo-soprano" is a thing is debatable.
this video is not about the fach system. Please read the disclaimer at the start of the video.
@@classicalmusic8425 Okay then.
What are your thoughts on those who may apply these types to non-classical voices?
You can apply it, but some terms are useless. You don't really have coloratura in popular singing for example. You can mostly just stick to the very basic classifications.
Good work!
O mais legal de tudo é o dedinho da Lily Pons 👌
Yma sumac ♥
Yma Sumac? Do you mean Any Camus from NY, NY?
Someone please explain Sumac. Was she real or did she resort to trickery. She is unique. Just unbelievable.
@@Operafreak9 She overdarkened but her recordings aren't digitally manipulated from what I know.
merci pour ce panorama aussi complet que passionnant !
What is the name for the :58?
“Un bel di vedrimo” from Puccini’s Madame Butterfly
Classical male voice types?
Been watching this with mouth wide open, nice video
Wonderful examples.
I am contralto
👏👏👏
Can you do one on male voices?
I loved it all!
This was great
Thank you
question! can a female be classified as a tenor? or is contralto the lowest?
Contralto is the lowest
Contralto is the lowest according to most experts.
Бывают аномалии: женские тенора и баритоны, но это исключения один на миллион, так же как и мужские сопрано
I think Cristina Deutekom is a Soubrette, and she retired with her beautiful young voice even with a high D on her last years of career
Deutekom sang Turandot. She is not a Soubrette.
She has a hard to categorize voice, so everything from a “Dramatic Coloratura” to “Spinto/Dramatic soprano with high extension” would be a fitting label.
20:29 It is a F8?
Bruh
Very confusing video.
Fachs are:
Contralto, mezzosoprano, dramatic soprano, spinto soprano, lyric soprano & coloratura.
So many singers here are put in wrong categories too which surely are going to confuse many listeners.
To be technical, this is incorrect. Spinto isn’t a fach. Spinto is an Italian term.
This is the true fächer system:
FACH SYSTEM:
Soubrette, lyrischer koloratursopran, dramatischer koloratursopran, lyrischer sopran, jugendlich-dramatischer sopran (equivalent to spinto), dramatischer sopran, charaktersopran, hochdramatischer sopran
Lyrischer mezzosopran, dramatischer mezzosopran
Dramatischer alt, tiefer alt
Spieltenor, lyrischer tenor, jugendlicher heldentenor (equivalent to spinto tenor), charaktertenor, heldentenor
Lyrischer bariton, kavalierbariton, charakterbariton, heldenbariton
Spielbass, charakterbass, seriöser bass.
I took it from a 100+ years old book. Most people misuse the term fäch and merge it with the Italian and French systems which are very different.
There are dramatic mezzo-sopranos and lyric mezzo-sopranos. Contraltos are divided into dramatic (which in this case means a high contralto) and low contraltos.
😍😍
So stupid classification and choice
no need to be so mean,a correction would be better/nicer
Had Maria Callas coloratura?
Will you make same video about male voices?