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A soprano is a singer with a voice that usually ranges from middle C to "high C", two octaves above middle C (ie C4-C6), although quite a few sopranos can sing either higher or lower than the usual range. In four part chorale style harmony the soprano takes the highest part which usually encompasses the melody.
The word "soprano" generally refers to a singer of this highest vocal range and to his or her voice. Male singers whose voices have not yet changed are known either as "boy sopranos" or in "church" traditions as trebles, whilst adult male sopranos singing falsetto are known as countertenors or sopranists.
Historically women were not allowed to sing in the Church so the soprano roles were given to young boys and later to castrati - 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.
In opera, the character, tessitura and timbre of soprano voices, and the roles they sing, are often categorized into voice types, often called fächer (sg. fach, from German Fach or Stimmfach, "vocal category").
A note on vocal range vs. tessitura: Choral singers are classified into voice parts based on range; solo singers are classified into voice types based in part on tessitura – where the voice has the best timbre and easy volume. For instance a soprano and a mezzo-soprano may have the same range, but their tessituras will lie in different parts of that range.
Soprano range:<br> The low extreme for sopranos is roughly B3 or A3 (just below middle C). Often low notes in higher voices project less, lack timbre, and tend to "count less" in roles (although some Verdi, Strauss and Wagner roles call for stronger singing below the staff). Rarely is a soprano simply unable to hit a low note.<br> The high extreme: at a minimum, non-coloratura sopranos have to reach a high C ("soprano C", C6, two octaves above middle C), and many roles in the standard repertoire call for D6 or D-flat6. A couple of roles have optional E-flat6’s, as well. In the coloratura repertoire several roles call for E-flat6, and the Queen of the Night in The Magic Flute has several staccato F6’s, though few singers will have this role in their repertoire. While not necessarily within the tessitura, a good soprano will be able to sing her top notes full-throated, with timbre and dynamic control.
Following are the soprano fächer, with their standard operatic repertory roles: (For more roles and singers, see the individual voice type pages.)
A light voice with a bright, sweet timbre and a tessitura in the mid-range. Plays comedic, saucy, but likable characters. Some soubrettes can also sing lyric coloratura roles such as Gilda or Norina. In addition, baroque music, early music and baroque opera, as well as art songs all call for light, beautiful voices. Soubrette roles in turn may be performed by light lyric and lyric coloratura voices, and sometimes by mezzo-sopranos as well. Singers include Emma Kirkby, Kathleen Battle and Dawn Upshaw
A graceful voice with a warm, full timbre that can be heard over an orchestra. Generally has a higher tessitura than a soubrette. Reserved for ingenues and other sympathetic characters. There is a tendency to divide lyric sopranos into two groups:
Singers include Ruth Ann Swenson, Sarah Brightman, Barbara Bonney and Gundula Janowitz
Singers include Elisabeth Schwarzkopf, Renata Tebaldi, Anna Moffo, Mirella Freni, Kiri Te Kanawa, Angela Gheorghiu and Renee Fleming.
Also lirico-spinto - Italian for "pushed lyric". It possesses the vocal color of a lyric soprano, but can be "pushed" to dramatic climaxes without strain. It may have a more robust timbre than a lyric soprano, and it generally has a notable squillo, "slicing" though a full orchestra (rather than singing over it like a dramatic soprano). It also handles dynamic changes very well. In addition to roles in the spinto fach, spintos can also sing lyric soprano roles, and take on some roles in the dramatic soprano repertoire. In some cases, it is a "baby dramatic" which will later turn into a dramatic soprano. In addition to being a very versatile voice type, some the roles written for it are among the most popular in opera. True spinto sopranos are also very uncommon. This combination means that these popular roles are often sung by singers from other fächer, and more than a few lyric sopranos have damaged their voices singing spinto roles. Singers include Zinka Milanov, Antonietta Stella [1] Leontyne Price and Aprile Millo.
A powerful, rich, emotive voice that can sing over a full orchestra. Thicker vocal chords in dramatic voices usually mean less agility than lighter voices but a sustained fuller sound. Usually (but not always) this voice has a lower tessitura than other sopranos, and a darker timbre. Used for heroic, tragic women of opera. Singers include Ghena Dimitrova, Jessye Norman, Karita Mattila and Deborah Voigt.
A dramatic voice that can assert itself over a large orchestra (over eighty pieces); substantial, very powerful and even throughout the registers. Usually plays a mythic heroine. Successful Wagnerian sopranos are rare, only one or two appear in a generation; arguably there are none singing today. Singers include Kirsten Flagstad and Birgit Nilsson.
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.
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