Glorious classical music and famous performances. (Probably) the only RU-vid channel featuring great classical music performances accompanied by a moving cursor on the sheet music - an invaluable resource for music teachers, students, and inquisitive learners to easily follow the score.
Producing this content requires a significant investment of time and energy. Kindly consider buying me a coffee to support me through the sleepless nights and to help me continue this endeavour! www.buymeacoffee.com/musicscr...
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?
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 🥰
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.
I find her to have a very moving and relaxing quality.. but maybe her singing is too smooth and lacking in variety for you? I also love Clara, but think the others are decent singers too, it seems like many RU-vid commenters are very demanding in their standards of acceptable singing. But am not surprised you like Clara, with your RU-vid name 😄
@@livrowland171 I agree that I have very demanding standards, and it's kind of unfortunate, because this means I won't enjoy a lot of music, and there is really nothing I can do about it (but a lobotomy maybe ? Haha !). Yes haha, I'm a big fan of DCB 😂 !! We might meet again as I am in the comments of many Dame Clara Butt videos.
@@DCBfanboy I'm an amateur contralto. You might or might not like to listen to my rendition of The Enchantress :-) If you do please don't be too hard on me! I do think this song suits me well though
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.
OMG! You highlighted all my favourite voices.Fantastic renditions of all the greats.Thanks a million for your most enlightening and enjoyable program 🎊 🎉🎉
The Bartoli 'debate' (maybe 'grey area' is a better term) for me is like Mariah Carey is to pop music. To me both are at their core mezzo-sopranos because they sound so smooth and rich in their lower registers but they can also have a great higher range.
Was honestly on the “Bartoli is a soprano” train until you mentioned the Dugazon possibility. I honestly think after hearing those clips that Dugazon is more likely considering how her middle notes and lower notes sound a little more effortless in comparison to a true soprano? And while timbre usually isn’t something I measure with, she most definitely is richer in tone than one would expect for a typical coloratura soprano (even in her higher notes she tends to carry her vocal weight)
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.
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.
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 (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-aqdS2J-A_Vk.html), to my ears, enhance the similarities even further - her sound is heftier.
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. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-myfj2dvAuRU.html&feature=share8 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3zUD86il4iA.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.
When i was student, while studying singing, music teacher told me that katharin ferrier was most favorite singer. At that time iwas just a country girl, so i bought her LP in Tokyo. I have impressions that her voice was very deep and long breath even she was young. Unfortunately she died for canser around 40years old. she was very beautiful English lady and her dress was also elegant and more like actress. Now i understand how to release the voice with own exhale breath to make regato singing. thank you so much for your very understandable comment.
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.
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.
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.
