OPERATIC VOICES

People who love opera and operetta love the sound of the human singing voice. Although styles and technique have continued to evolve, there are certain features which distinguish operatic singing from popular. First of all, opera singers rarely use microphones to project their sound. They are trained to fill the largest halls with their natural voices, even when singing softly and with a large orchestra, and they must be able to do this without straining their voices. In contrast, nearly all pop singers and performers in some musicals, must use amplification to make their voices audible, no matter where they perform.

To the uninitiated, an operatic voice may sound unnatural. Opera singers must use the resonance of the sinus cavities of the face and head, as if they were echo chambers. Proper breath control is essential. The diaphragm (a muscle beneath the lungs and above the stomach) acts as a trampoline does, pushing the air from the lungs at the desired rate. The wishbone-shaped vocal cords vibrate by this controlled release; the speed at which the cords vibrate determines high or low pitch. The mouth acts like a megaphone, amplifying the sound and carrying it out on an expelled breath.

In speech or in singing, the sounds which make the words are produced by changing the positions of the tongue and the lips. Try saying the vowels a,e,i,o and u but in the following order and feel how the use of the mouth changes from the front to the back.

   oo ee oh aye ah

The following shows how important mouth placement is. Form your mouth as though you were going to say "eee". Now, without moving your tongue or throat, try to say "ah". What happens?

Now try changing the consonants as follows:

   bad, bat, bag, ball, back, bah, bass
   bat, fat, hat, sat, mat, cat, rat, tat

Which consonants are sounded in the front of the mouth, which in the middle and which at the back?

VOICE CLASSIFICATIONS
Singers are usually cast in roles by the kinds of voices they have, even if their physical appearance does not totally match that of the character they are playing. (Although this doesn't happen as often as it used to, it is not unusual to find a famous older man or woman playing the part of a youthful character or a singer made to look old with makeup.) The range of human voices is about four and one-half octaves, one and one-half octave less at each end than the piano.

SOPRANO — The highest female voice, with a sound similar to a flute or violin in range. In opera, the soprano is most often the heroine, such as Yum-Yum in The Mikado and Maritza, (since a high bright sound can easily suggest youth, innocence and virtue).

MEZZO-SOPRANO or MEZZO — The middle female voice, similar to an oboe or viola in range. The mezzo-soprano sound is often darker and warmer than that of the soprano. In opera, composers generally use the mezzo voice to portray older women such as mothers, villainesses, or seductive heroines. An exception is Cinderella, a heroine sung by a mezzo.

CONTRALTO — The lowest female voice, sometimes called simply alto. A true contralto is a very rare voice type, similar to the lower range of a clarinet. It is usually used for an older female and special character parts such as witches and old gypsies. The role of Katisha in The Mikado is written for a contralto.

TENOR — The highest male voice in most operas and usually the hero. Nanki-Poo, Tassilo and Don Ramiro are examples. It is similar to a trumpet in range, tone color and acoustical "ring". Some composers did not like tenors and gave them character parts instead.

BARITONE — The middle male voice, close to a French horn or cello in range and tone color. In comic opera, the baritone is often the ringleader of the high jinx. Ko-Ko, Pooh-Bah, Dandini and Don Magnifico are examples. In tragic opera he is often the villain or is an older man.

BASS (pronounced base) — The lowest male voice. It is similar to a trombone, bassoon or bass violin in range and color. Low voices suggest age and wisdom (basso profondo). In comic opera bass voices are generally used for old characters who are wily, foolish or laughable (basso buffo). Roles sung by basses include The Mikado, and Alidoro.