Incubator escapee wiki

Contralto

Article Discussion

Template:Short description {{#invoke:other uses|otheruses}} Template:Use dmy dates Template:Sidebar A contralto ({{#invoke:IPA|main}}) is a classical female singing voice whose vocal range is the lowest of their voice types.<ref name=McKinney>Template:Cite book</ref>

The contralto's vocal range is fairly rare, similar to the mezzo-soprano, 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 D below middle C (D3)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> or the second BTemplate:Music above middle C (BTemplate:Music5).<ref name=McKinney /> The contralto voice type is generally divided into the coloratura, lyric, and dramatic contralto.

HistoryEdit

"Contralto" is primarily meaningful only in reference to classical and operatic singing, as other traditions lack a comparable system of vocal categorization. The term "contralto" is only applied to female singers; men singing in a similar range are called "countertenors".<ref name=Appelman /> The Italian terms "contralto" and "alto" are not synonymous, "alto" technically denoting a specific vocal range in choral singing without regard to factors like tessitura, vocal timbre, vocal facility, and vocal weight.<ref>Template:Cite book</ref> However, there exists some French choral writing (including that of Ravel and Poulenc) with a part labelled "contralto", despite the tessitura and function being that of a classical alto part. The Saracen princess Clorinde in André Campra's 1702 opera Tancrède was written for Julie d'Aubigny and is considered the earliest major role for bas-dessus or contralto voice.<ref name="bas-dessus">The part of Clorinde is notated in the soprano clef (original score: Template:Cite book), but, although it never descends below d′, tradition has it that it was the first major bas-dessus (contralto) role in the French opera history (Template:Cite book</ref>

Vocal rangeEdit

File:Contralto voice range on keyboard.svg
Contralto vocal range (F3–F5) notated on the treble staff (left) and on piano keyboard in green with dot marking middle C (C4).
<score>{ \new Staff \with { \remove "Time_signature_engraver" } f4 f4 }</score>

The contralto has the lowest vocal range of the female voice types, with the lowest tessitura;<ref name=Appelman>Template:Cite book</ref><ref>Template:Cite EB1911</ref> it is between tenor and mezzo-soprano.

Although tenors, baritones, and basses are male singers, some women can sing as low (albeit with a slightly different timbre and texture) as their male counterparts. Some of the rare female singers who specialized in the tenor and baritone registers include film actress Zarah Leander,<ref>Peucker, Brigitte. The Material Image: Art and the Real in Film. Stanford University Press 2007. p. 120 Template:ISBN Template:Webarchive</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> the Iranian āvāz singer Hayedeh,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> the child prodigy Ruby Helder (1890–1938),<ref>Template:Cite book</ref> and Bavarian novelty singer Bally Prell.<ref>Archived at GhostarchiveTemplate:Cbignore and the Wayback MachineTemplate:Cbignore: {{#invoke:citation/CS1|citation |CitationClass=web }}Template:Cbignore</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Guiness World Record for lowest note by a female is D2, by Helen Leahey.

Subtypes and roles in operaEdit

File:Sullivan - H.M.S. Pinafore (1907, Odeon) - 02 - I'm called Little Buttercup.mp3
Ada Florence singing I'm called Little Buttercup from H.M.S. Pinafore

Within the contralto voice type category are three generally recognized subcategories: coloratura contralto, an agile voice specializing in florid passages; lyric contralto, a voice lighter in timbre; and dramatic contralto, a deep, dark, and bold contralto voice.

The coloratura contralto was a favorite voice type of Rossini's. Many of his roles listed below were written with this type of voice in mind. Lyric contraltos are heavily utilized in both the French and English operatic repertoire. Many of the Gilbert and Sullivan contralto roles are best suited with a lyric contralto voice. Ma Moss in The Tender Land is a notable lyric contralto role. The dramatic contralto voice is heard in much of the German operatic repertoire. Erda in Der Ring des Nibelungen and Gaea in Daphne are both good examples of the dramatic contralto.

True operatic contraltos are rare, and the operatic literature contains few roles written specifically for them with most of those roles singing notes outside of their defined range. Contraltos sometimes are assigned feminine roles like Teodata in Flavio, 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 trouser roles. Contraltos may also be cast in roles originally written for castrati. A common saying among contraltos is that they may play only "witches, bitches, or britches."<ref name=Boldrey>Template:Cite book</ref>

Examples of contralto roles in the standard operatic repertoire include the following:<ref name=Boldrey /> Template:Div col

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

See alsoEdit

Template:Portal

ReferencesEdit

Template:Reflist

Further readingEdit

External linksEdit

Template:Range (music) Template:Authority control

Retrieved from "https://zalansite.site/mediawiki/index.php?title=Contralto&oldid=51917"