Soprano

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In music, a soprano is a singer with a voice that ranges from, approximately, the A below middle C to "high C", two octaves above middle C (i.e. A3-C6). Rarely, a soprano will be able to reach higher octaves. In four part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody.

The word "soprano" generally refers to a female singer of this highest vocal range and to her voice. Male singers whose voices have not yet changed are known either as "boy sopranos" or, in the Anglican and Roman Catholic traditions, as trebles.

Vocal ranges

Female ranges

Soprano

Male ranges

Historically, women were not allowed to sing in the Church, so the soprano roles were given to young boys, and later to castrati, who were men whose larynxes had been fixed in a pre-adolescent state through the process of castration.

More generally, a soprano is a relatively high-pitched member of a group of similar instruments (for example, the soprano saxophone).

1 Types of soprano and soprano roles in operas
2 Soprano roles in operettas and musicals
- 2.1 Famous Sopranos
3 See also

[edit] Types of soprano and soprano roles in operas

In opera, the character and timbre of soprano voices are often categorized according to the German Fach system. However, several roles are regularly sung by sopranos who are considered to belong to another "Fach". For example, Dramatic Coloratura Sopranos and Full Lyrics often sing Lucia (Lucia di Lammermoor). Sopranos usually play the heroine in opera. The soprano Fächer, with examples of respective roles, are:

Soubrette: A sweet, lightweight voice whose range is mostly in middle voice. Plays comedic, saucy, but likable characters.

Common vocal ranges represented
on a musical keyboard

- Amor (Orfeo ed Euridice)
- Ännchen (Der Freischütz)
- Barbarina (Le Nozze di Figaro)
- Belinda (Dido and Aeneas)
- Despina (Così fan tutte)
- Lisa (La Sonnambula)
- Marzellina (Fidelio)
- Musetta (La Bohème)
- Nannetta (Falstaff)
- Servilia (La Clemenza di Tito)
- Sofie (Der Rosenkavalier)
- Susanna (Le Nozze di Figaro)
- Tamyris (Il Re Pastore)
- Zerlina (Don Giovanni)

Lyric Coloratura: A light, acrobatic voice, with a range into the 6th octave.
- Adina (L'Elisir d'Amore)
- Agrippina (Agrippina)
- Alcina (Alcina)
- Alminera (Rinaldo)
- Amina (La Sonnambula)
- Anne Truelove (The Rake's Progress)
- Blondchen (Die Entführung aus dem Serail)
- Celia (Lucio Silla)
- Dorabella (Cosi Fan Tutte)
- Elisa (Il Re Pastore)
- Elvira (I Puritani)
- Gilda (Rigoletto)
- Ilia (Idomeneo)
- Lakmé (Lakmé)
- Magda (La Rondine)
- Norina (Don Pasquale)
- Olympia (Les Contes d'Hoffmann)
- Ophélie (Hamlet)
- Oskar (Un Ballo in Maschera)
- Zerbinetta (Ariadne auf Naxos)

Dramatic Coloratura: A voice with a beautiful lyric line, the agility to sing coloratura, and the capability of dramatic outbursts.
- Anna Bolena (Anna Bolena)
- Cleopatra (Giulio Cesare)
- Donna Anna (Don Giovanni)
- Elena (I Vespri Siciliani)
- Fiordiligi (Così fan tutte)
- Giovanna (Giovanna d’Arco)
- Giselda (I Lombardi)
- Julie (La Vestale)
- Königin der Nacht (Queen of the Night) (Die Zauberflöte) N.B. The Queen of the Night is a specialty role, and is not representative of the Dramatic Coloratura Fach.
- Konstanze (Die Entführung aus dem Serail)
- Lady Macbeth (Macbeth)
- Leonora (Il Trovatore)
- Lucia (Lucia di Lammermoor)
- Lucrezia (Lucrezia Borgia)
- Luisa (Luisa Miller)
- Mathilde (Guillaume Tell)
- Norma (Norma)
- Rosalinda (Die Fledermaus)
- Semiramide (Semiramide)
- Violetta Valery (La Traviata)
- Vitellia (La Clemenza di Tito)

Full Lyric Soprano: A sweet, graceful voice, with range similar to that of the soubrette but with a stronger quality, and stronger upper register. Reserved for ingenues and other sympathetic characters.
- Agathe (Der Freischütz)
- Antonia (Les Contes d'Hoffmann)
- Contessa (Figaro)
- Euridice (Orfeo ed Euridice)
- Juliette (Roméo et Juliette)
- Liù (Turandot)
- Manon (Manon)
- Marie (The Daughter of the Regiment)
- Marguerite (Faust)
- Martha (Martha)
- Micaëla (Carmen)
- Mimi (La Bohème)
- Nedda (Pagliacci)
- Pamina (Die Zauberflöte)
- Salome (Herodiade)
- Zaide (Zaide)

Spinto Soprano: A full lyric voice that can be pushed to dramatic climaxes.
- Agathe (Der Freischütz)
- Aida (Aïda)
- Alice Ford (Falstaff)
- Butterfly (Madama Butterfly)
- Desdemona (Othello)
- Donna Elvira (Don Giovanni)
- Elisabetta (Don Carlos)
- Manon (Manon Lescaut)
- Margherita (Mefistofele)
- Rusalka (Rusalka)
- Tatjana (Eugene Onegin)
- The Marschallin (Der Rosenkavalier)
- Wally (La Wally)

Dramatic soprano: A powerful, rich, emotive voice. Used for the heroic, tragic, and/or victimized women of opera. Range from Bb3 or A3 to C6. (Note: The listed range is not correct for all of the below roles; some exceed the listed range.)
- Abgaille (Nabucco)
- Amelia (Un Ballo in Maschera)
- Ariadne (Ariadne auf Naxos)
- Cio-Cio-San (Butterfly) (Madama Butterfly)
- Elsa (Lohengrin)
- Gioconda (La Gioconda)
- Kundry (Parsifal)
- Leonore (Fidelio)
- Santuzza (Cavalleria Rusticana)
- Sieglinde (Die Walküre)
- Tosca (Tosca)

Wagnerian soprano (Hochdramatischer sopran): A dramatic voice that can assert itself as an instrument over a large orchestra (over eighty pieces). Usually a mythic heroine.
- Brünnhilde (Die Walküre, Siegfried, Götterdämmerung)
- Elektra (Elektra)
- Elizabeth (Tannhäuser)
- Isolde (Tristan und Isolde)
- Salome (Salome)
- Senta (Der Fliegende Holländer)
- Turandot (Turandot)

Two types of soprano especially dear to the French are the Dugazon and the Falcon, which are intermediate voice types between the soprano and the mezzo soprano: a Dugazon is a darker-colored soubrette, a Falcon a darker-colored soprano drammatico.