Acoloratura soprano (Italian:soprano di coloratura) is a type ofoperaticsoprano voice that specializes in music that is distinguished by agileruns, leaps andtrills.
The termcoloratura refers to the elaborate ornamentation of a melody, which is a typical component of the music written for this voice. Within the coloratura category, there are roles written specifically for lighter voices known as lyric coloraturas and others for larger voices known as dramatic coloraturas. Categories within a certainvocal range are determined by the size, weight and color of the voice. Coloratura is particularly found in vocal music and especially inoperatic singing of the 18th and 19th centuries.
A very agile light voice with a high upper extension, capable of fast vocal coloratura. Lyric coloraturas have a range of approximately middle C (C4) to "high F" (F6). Such a soprano is sometimes referred to as asoprano leggero if her vocal timbre has a slightly warmer quality. The soprano leggero also typically does not go as high as other coloraturas, peaking at a "high E" (E6).[1]Bel canto roles were typically written for this voice, and a wide variety of other composers have also writtencoloratura parts.Baroque music,early music andbaroque opera also have many roles for this voice.[2]
A coloratura soprano with great flexibility in high-lying velocity passages, yet with great sustaining power comparable to that of a fullspinto ordramatic soprano. Dramatic coloraturas have a range of approximately "low A" (A3) to "high F" (F6). Various dramatic coloratura roles have different vocal demands for the singer – for instance, the voice that can sing Abigail (Nabucco, Verdi) is unlikely to also sing Lucia (Lucia di Lammermoor, Donizetti), but a factor in common is that the voice must be able to convey dramatic intensity as well as flexibility. Roles written specifically for this kind of voice include the more dramaticMozart andbel canto female roles and earlyVerdi.[3] This is a rare vocalfach, as thick vocal cords are needed to produce the large, dramatic notes, which usually lessens the flexibility and acrobatic abilities of the voice.
In rare instances, some coloratura sopranos are able to singin altissimo above high F (F6). This type of singer is sometimes referred to as asoprano acuto sfogato.[4]
Although both lyric and dramatic coloraturas can be acuto sfogato sopranos, the primary attribute of the acuto sfogato soprano is an upper extension above F6.[5] Some pedagogues refer to these extreme high notes as thewhistle register.
Very few composers have ever written operatic roles for this voice type with actual notes scored above high F, so these singers typically display these extreme high notes through the use of interpolation in some of the operatic roles already cited above or in concert works. Examples of works that include G6 are the concert ariaPopoli di Tessaglia! by Mozart,Esclarmonde by Massenet, andPostcard from Morocco byDominick Argento.Thomas Adès composed a high A (A6) for the character of Leticia Meynar inThe Exterminating Angel.
The soprano acuto sfogato is sometimes confused with thesoprano sfogato, a singer (oftenmezzo-soprano) capable, by sheer industry or natural talent, of extending her upper range to encompass some of the coloratura soprano tessitura, though not the highest range above high F.
Boldrey, Richard (1994).Guide to Operatic Roles and Arias. Caldwell Publishing.ISBN978-1-877761-64-5.
Coffin, Berton (1960).Singer's Repertoire: Part I: coloratura, soprano, lyric soprano and dramatic soprano. Scarecrow Press.ISBN978-0-8108-45268. Rowman & Littlefield.ISBN978-0-8108-0188-2.
Other sources
Boldrey, Richard; Robert Caldwell; Werner Singer; Joan Wall; Roger Pines (1992).Singer's Edition (Light Lyric Soprano): Operatic Arias – Light Lyric Soprano. Caldwell Publishing.ISBN978-1-877761-02-7.
Boldrey, Richard; Robert Caldwell; Werner Singer; Joan Wall; Roger Pines (1992).Singer's Edition (Soubrette): Operatic Arias – Soubrette. Caldwell Publishing.ISBN978-1-877761-03-4.
