Typical roles for mezzo-sopranos include the stereotypical triad associated with contraltos of "witches, bitches, and britches": witches, nurses, and wise women, such as Azucena inVerdi'sIl trovatore; villains and seductresses such as Amneris in Verdi'sAida; and "breeches roles" or "trouser roles" (male characters played by female singers) such as Cherubino inMozart'sLe nozze di Figaro. Mezzo-sopranos are well represented inbaroque music,early music, andbaroque opera.[1] Some roles designated for lightersoubrette sopranos are sung by mezzo-sopranos, who often provide a fuller, more dramatic quality. Such roles include Despina in Mozart'sCosì fan tutte and Zerlina in hisDon Giovanni.[2] Mezzos sometimes playdramatic soprano roles such as Santuzza inMascagni'sCavalleria rusticana, Lady Macbeth in Verdi'sMacbeth, and Kundry in Wagner'sParsifal.[3]
Mezzo-soprano vocal range (A3–A5) notated on thetreblestaff and on piano keyboard in green with dot marking middle C (C4).
Thevocal range of the mezzo-sopranos lies between thesoprano and thecontraltovoice types. Mezzo-sopranos generally have a heavier, darker tone than sopranos. The mezzo-soprano voice resonates in a higher range than that of a contralto. The termsDugazon andGalli-Marié are sometimes used to refer to light mezzo-sopranos, after the names of famous singers. Usually men singing within the female range are calledcountertenors since there is a lighter more breathy tonal (falsetto) quality difference.[4] In current operatic practice, female singers with very lowtessituras are often included among mezzo-sopranos, because singers in both ranges are able to cover the other, and true operatic contraltos are very rare.[1]
Within the mezzo-soprano voice type category are three generally recognized subcategories: coloratura mezzo-soprano, lyric mezzo-soprano, and dramatic mezzo-soprano.
A coloratura mezzo-soprano has a warm lower register and an agile high register. The roles they sing often demand not only the use of the lower register but also leaps into the upper tessitura with highly ornamented, rapid passages. They have a range from approximately the G below middle C (G3, 196 Hz) to the B two octaves above middle C (B5, 988 Hz). Some coloratura mezzo-sopranos can sing up to high C (C6, 1047 Hz) or high D (D6, 1175 Hz), but this is very rare.[1]What distinguishes these voices from being called sopranos is their extension into the lower register and warmer vocal quality. Although coloratura mezzo-sopranos have impressive and at times thrilling high notes, they are most comfortable singing in the middle of their range, rather than the top.[3]
Many of the hero roles in the operas ofHandel andMonteverdi, originally sung by male castrati, can be successfully sung today by coloratura mezzo-sopranos. Rossini demanded similar qualities for his comic heroines, andVivaldi wrote roles frequently for this voice as well. Coloratura mezzo-sopranos also often sing lyric-mezzo-soprano roles or soubrette roles.[2]
Coloratura mezzo-soprano roles in operas (*denotes a lead role):
The lyric mezzo-soprano has a range from approximately the G note below middle C (G3, 196 Hz) to the A two octaves above middle C (A5, 880 Hz).[1] This voice has a very smooth, sensitive and at times lachrymose quality. Lyric mezzo-sopranos do not have the vocal agility of the coloratura mezzo-soprano or the size of the dramatic mezzo-soprano. The lyric mezzo-soprano is ideal for mosttrouser roles.[3]
Lyric mezzo-soprano roles in operas (*denotes a lead role):
A dramatic mezzo-soprano has a strong medium register, a warm high register and a voice that is broader and more powerful than the lyric and coloratura mezzo-sopranos. This voice has less vocal facility than the coloratura mezzo-soprano. The range of the dramatic mezzo-soprano is from approximately the F below middle C (F3, 175 Hz) to the G two octaves above middle C (G5, 784 Hz).[1] The dramatic mezzo-soprano can sing over an orchestra and chorus with ease and was often used in the 19th century opera, to portray older women, mothers, witches and evil characters. Verdi wrote many roles for this voice in the Italian repertoire and there are also a few good roles in the French Literature. The majority of these roles, however, are within the German Romantic repertoire of composers likeWagner andRichard Strauss. Like coloratura mezzos, dramatic mezzos are also often cast in lyric mezzo-soprano roles.[3]
Dramatic mezzo-soprano roles in operas (*denotes a lead role):
^abcdefAppelman, D. Ralph (1986).The Science of Vocal Pedagogy: Theory and Application. Indiana University Press.ISBN978-0-253-20378-6.
^abBoldrey, Richard; Robert Caldwell; Werner Singer; Joan Wall; Roger Pines (1992).Singer's Edition (Soubrette): Operatic Arias – Soubrette. Caldwell Publishing.ISBN978-1-877761-03-4.
^abcdBoldrey, Richard (1994).Guide to Operatic Roles and Arias. Caldwell Publishing.ISBN978-1-877761-64-5.
^Stark, James (2003).Bel Canto: A History of Vocal Pedagogy. University of Toronto Press.ISBN978-0-8020-8614-3.
