Classical and Operatic Singers Range Thread (6,571 views)

[kaji]

Aug 10, 2023 20:34:04 GMT Steingrim said:

Aug 10, 2023 18:44:56 GMT kaji said:

The modern mezzo-soprano Stephanie Blythe shows very well how close a low (dramatic) mezzo-soprano truly is to a tenor in her singing of both the tenor Don Jose role from Carmen and the title baritone role of Puccini's Gianni Schicchi, both of whom she performed in the original written pitch. She also often sings tenor pieces (with a tenor-like timbre) in her drag persona alter-ego show. Here is a clip of her singing the tenor aria from Tosca - www.youtube.com/shorts/EtEAS6TNtvE And here is her normal classical dramatic mezzo-soprano voice - www.youtube.com/watch?v=On4o2yfNyg4 And here is her singing in a pop voice without the tenor sound - www.youtube.com/watch?v=7gJIFYFAbdQ  and www.youtube.com/watch?v=XogKGeSuonY

Timbre fluidity. How do they do that ? Is there a special technique or does it require a particularly flexible or rangey voice ? Elvis Presley comes to mind.

It has all to do with the vocal tract shaping changes. Almost fully technique and approach. Not particularly to do with voice type. Which is why there's some classical sopranos who could imitate a manly sound, and how there's basses (I know some personally) who can produce a quite feminine voice. 

[Steingrim]

Aug 10, 2023 21:56:23 GMT kaji said:

Aug 10, 2023 20:34:04 GMT Steingrim said:

Timbre fluidity. How do they do that ? Is there a special technique or does it require a particularly flexible or rangey voice ? Elvis Presley comes to mind.

It has all to do with the vocal tract shaping changes. Almost fully technique and approach. Not particularly to do with voice type. Which is why there's some classical sopranos who could imitate a manly sound, and how there's basses (I know some personally) who can produce a quite feminine voice. 

So in this case it's a matter of imitation then, not of emphasis.

[kaji]

Aug 11, 2023 7:05:47 GMT Steingrim said:

Aug 10, 2023 21:56:23 GMT kaji said:

It has all to do with the vocal tract shaping changes. Almost fully technique and approach. Not particularly to do with voice type. Which is why there's some classical sopranos who could imitate a manly sound, and how there's basses (I know some personally) who can produce a quite feminine voice. 

So in this case it's a matter of imitation then, not of emphasis.

I think it's both. It's one thing to imitate something, another to get authentic at the imitated sound. 

[Steingrim]

Aug 12, 2023 13:10:08 GMT kaji said:

Aug 11, 2023 7:05:47 GMT Steingrim said:

So in this case it's a matter of imitation then, not of emphasis.

I think it's both. It's one thing to imitate something, another to get authentic at the imitated sound. 

Elvis Presley may have been a less technically brilliant singer, but as remarked by critics in the 1970s, he managed the same effect. A baritone timbre and fullness in the lower octave 3, a more tenor like timbre at his money note, the A4. One may argue that he was somewhere in between, a high baritone, but I think that he managed some level of timbre fluidity. Which worked very well for the range of emotional expression that he was looking for.

[kaji]

Aug 13, 2023 9:07:40 GMT Steingrim said:

Aug 12, 2023 13:10:08 GMT kaji said:

I think it's both. It's one thing to imitate something, another to get authentic at the imitated sound. 

Elvis Presley may have been a less technically brilliant singer, but as remarked by critics in the 1970s, he managed the same effect. A baritone timbre and fullness in the lower octave 3, a more tenor like timbre at his money note, the A4. One may argue that he was somewhere in between, a high baritone, but I think that he managed some level of timbre fluidity. Which worked very well for the range of emotional expression that he was looking for.

A bit controversial but I do actually believe him to be a lower-set tenor. Had he been trained properly (and lived longer) I think it'd have been more clear. I do agree with you though, timbre fluidity. Similar voice overall to Roy Hamilton, down to everything. Makes sense considering Elvis was heavily influenced by him. 

[Steingrim]

Aug 13, 2023 20:05:04 GMT kaji said:

Aug 13, 2023 9:07:40 GMT Steingrim said:

Elvis Presley may have been a less technically brilliant singer, but as remarked by critics in the 1970s, he managed the same effect. A baritone timbre and fullness in the lower octave 3, a more tenor like timbre at his money note, the A4. One may argue that he was somewhere in between, a high baritone, but I think that he managed some level of timbre fluidity. Which worked very well for the range of emotional expression that he was looking for.

A bit controversial but I do actually believe him to be a lower-set tenor. Had he been trained properly (and lived longer) I think it'd have been more clear. I do agree with you though, timbre fluidity. Similar voice overall to Roy Hamilton, down to everything. Makes sense considering Elvis was heavily influenced by him. 

I heard a tenor in a live setting who darkened his voice a lot around C3, making it sound as if he was singing lower than he actually did. Which seemed a bit artificial. With Elvis the timbre shift seemed to be something more fluent.

theconversation.com/elviss-voice-like-mario-lanza-singing-the-blues-82425

"One of the hallmarks of Elvis’ vocal approach is a combination of his large range with the unusual ability to move seamlessly between his tenor and baritone voices. Combined with his range, he has great control over the placement of the voice in the different resonant centres such as the chest, head and the pharynx at the back of the mouth which affects the vocal tone."

The operatic tenor Mario Lanza is mentioned elsewhere, as one of Elvis' great influences according to himself. 

[kaji]

Posted a thread on Johanna Gadski!
therangeplanet.proboards.com/thread/3239/johanna-gadski

[Steingrim]

Regarding soprano high Cs. Do you know of any singers that are able to get around the loss of vowel distinction that happens somewhere along octave 5 ? Or is that physically impossible ?

[kaji]

Lillian Nordica (12 December 1857 - 10 May 1914)
Voice Type: Dramatischer koloratursopran or Jugendlich-dramatischer sopran
Vocal Range: G3-C6

Significant High Notes:

C6 ("Ah rebéges, a mi vadúl", "Duet from Les Huguenots", "Heil dir, Sonne! Heil dir, Licht!", "Hojotoho! hojotoho! Hei a ha!", "Io son Titania", "Siegfried! Siegfried! Seliger Held!")
B5 ("Heil dir, Sonne! Heil dir, Licht!", "Hojotoho! hojotoho! Hei a ha!", "So werf' ich den Brand in Walhalls prangende Burg", "Starke Scheite schichtet mir dort", "Suicidio!")
B♭5 ("Io son Titania", "O hehrstes Wunder! Herrlichste Maid", "Sérénade", "So werf' ich den Brand in Walhalls prangende Burg", "Starke Scheite schichtet mir dort", "Tacea la notte placida", "Wie sie fassen, wie sie lassen")
A5 ("Ah rebéges, a mi vadúl", "Duet from Les Huguenots", "O hehrstes Wunder! Herrlichste Maid", "Suicidio!")
G♯5 ("Heil dir, Sonne! Heil dir, Licht!", "Io son Titania", "Mild und leise", "Miserere", "Sérénade", "Tacea la notte placida", "Wie sie fassen, wie sie lassen")
G5 ("Dämon", "Duet from Les Huguenots", "Hojotoho! hojotoho! Hei a ha!", "Mandoline", "O hehrstes Wunder! Herrlichste Maid", "Siegfried! Siegfried! Seliger Held!")
F♯5 ("Ah rebéges, a mi vadúl", "Dämon", "Hojotoho! hojotoho! Hei a ha!", "Mighty lak' a rose", "Miserere", "Sérénade", "Suicidio!", "Wie sie fassen, wie sie lassen")
F5 ("Annie Laurie", "From the land of the sky blue waters", "Mandoline", "Mein Erbe nun nehm' ich zu eigen", "Mild und leise", "Tacea la notte placida")
E5 ("Dämon", "Duet from Les Huguenots", "Heil dir, Sonne! Heil dir, Licht!", "Io son Titania", "Mandoline", "Mighty lak' a rose", "O hehrstes Wunder! Herrlichste Maid", "Starke Scheite schichtet mir dort", "Wie sie fassen, wie sie lassen")

Significant Low Notes:

D4 ("Io son Titania", "Mandoline", "Sérénade")
C♯4 ("Annie Laurie", "Miserere", "Suicidio!")
C4 ("Io son Titania")
B3 ("Ah rebéges, a mi vadúl")
B♭3 ("Tacea la notte placida")
A3 ("Ah rebéges, a mi vadúl")
G3 ("Mandoline")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Sept 5, 2023 10:13:24 GMT Steingrim said:

Regarding soprano high Cs. Do you know of any singers that are able to get around the loss of vowel distinction that happens somewhere along octave 5 ? Or is that physically impossible ?

It is not possible up that high. 

[kaji]

New thread on one of the most technically perfect mezzo-sopranos in classical history
therangeplanet.proboards.com/thread/3306/sigrid-on-gin

[kaji]

Lilli Lehmann (24 November 1848 - 17 May 1929)
Voice Type: Soprano
Vocal Range: B3-D6

Significant High Notes:

D6 ("Ach ich liebte", "Martern aller Arten", "Mira, o Norma", "Robert, Robert mein Geliebter")
C♯6 ("Ah, fors'è lui... Sempre libera", "Casta diva")
C6 ("Ach ich liebte", "Ah, fors'è lui... Sempre libera", "Ah! sì fa core", "Martern aller Arten", "Mira, o Norma", "O glücklich Land")
B5 ("Abscheulicher… Komm' Hoffnung… Ich folg'dem inner Triebe", "Ave Maria", "Deh! non volerli vittime", "Frohe Botschaft", "O glücklich Land")
B♭5 ("Ach ich liebte", "Ah, fors'è lui... Sempre libera", "Alfredo, Alfredo, di questo core", "Casta diva", "Crucifix", "Ich erwähle mir den Muntern", "Mira, o Norma", "Non mi dir... Fors' è un giorno il cielo", "Wenn die sanften Abendlüfte")
A5 ("Ah! sì fa core", "Ave Maria", "Casta diva", "Deh! non volerli vittime", "Don Ottavio, son morta... Or sai chi l'onore", "Freudvoll und leidvoll", "Martern aller Arten", "Non mi dir... Fors' è un giorno il cielo", "Robert, Robert mein Geliebter")
G♯5 ("Ah, fors'è lui... Sempre libera", "Du bist der Lenz", "Du bist die Ruh'", "Heil'ge quelle", "Mild und leise, wie er lächelt!")
G5 ("Ach ich liebte", "Ah! sì fa core", "Alfredo, Alfredo, di questo core", "Ave Maria", "Casta diva", "Der Erlkönig", "Don Ottavio, son morta... Or sai chi l'onore", "Freudvoll und leidvoll", "Heidenröslein", "Heil'ge quelle", "Ich erwähle mir den Muntern", "Martern aller Arten", "Non mi dir... Fors' è un giorno il cielo", "O glücklich Land", "Robert, Robert mein Geliebter", "Wenn die sanften Abendlüfte")
F♯5 ("Abscheulicher… Komm' Hoffnung… Ich folg'dem inner Triebe", "Auf dem Wasser zu singen", "Crucifix", "Deh! non volerli vittime", "Die Loreley", "Freudvoll und leidvoll", "Heidenröslein", "Intermezzo", "Mondnacht", "O hätt' ich Jubals Harf", "Robin Adair")
F5 ("Ach ich liebte", "Ah, fors'è lui... Sempre libera", "Ah! sì fa core", "Alfredo, Alfredo, di questo core", "Casta diva", "Der Erlkönig", "Don Ottavio, son morta... Or sai chi l'onore", "Du bist der Lenz", "Heil'ge quelle", "Ich erwähle mir den Muntern", "Im Kahne", "Long, long ago", "Mira, o Norma", "Mondnacht", "Non mi dir... Fors' è un giorno il cielo", "Robert, Robert mein Geliebter", "Wenn die sanften Abendlüfte")
E5 ("Abscheulicher… Komm' Hoffnung… Ich folg'dem inner Triebe", "Ah! sì fa core", "Auf dem Wasser zu singen", "Ave Maria", "Casta diva", "Crucifix", "Deh! non volerli vittime", "Die Loreley", "Freudvoll und leidvoll", "Frohe Botschaft", "Heidenröslein", "Im Kahne", "Intermezzo", "Mira, o Norma", "O glücklich Land", "O hätt' ich Jubals Harf", "Robin Adair")

Significant Low Notes:

E♭4 ("Auf dem Wasser zu singen", "Die Loreley", "Du bist die Ruh'", "Heil'ge quelle", "Intermezzo", "Long, long ago")
D4 ("Ave Maria", "Der Erlkönig", "Mild und leise, wie er lächelt!", "O glücklich Land", "Robert, Robert mein Geliebter")
C♯4 ("Abscheulicher… Komm' Hoffnung… Ich folg'dem inner Triebe", "Du bist der Lenz")
C4 ("Ah, fors'è lui... Sempre libera", "Der Erlkönig", "Die Loreley", "Robert, Robert mein Geliebter")
B3 ("Abscheulicher… Komm' Hoffnung… Ich folg'dem inner Triebe", "Martern aller Arten")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Luigi Fort (1907 - 1976)
Voice Type: Tenore leggero
Vocal Range: C3-B4

Significant High Notes:

B4 ("Salve, dimora casta e pura")
B♭4 ("Com'è gentil", "Dal tempi al limitar", "Languir per una bella", "Mi par d'udire ancor", "Quanto è bella", "Salve, dimora casta e pura")
A4 ("Addio Mignon", "Ah! Non mi ridestar", "È arrivata primavera", "E la solita storia", "Il mio tesoro intanto", "Il mio tormento", "Mi par d'udire ancor", "Numero quindici a mano manca", "O Mimì, tu più non torni", "Solenne in quest'ora")
G♯4 ("Ay, ay, ay", "Com'è gentil", "Dal tempi al limitar", "Languir per una bella", "Mi par d'udire ancor", "Quanto è bella", "Salve, dimora casta e pura", "Trecce d'oro")
G4 ("Addio Mignon", "Ah! Non mi ridestar", "Com'è gentil", "Dal tempi al limitar", "È arrivata primavera", "E la solita storia", "Il mio tesoro intanto", "Il mio tormento", "Languir per una bella", "Numero quindici a mano manca", "O Mimì, tu più non torni", "Salve, dimora casta e pura")

Significant Low Notes:

F3 ("Ah! Non mi ridestar", "Il mio tesoro intanto", "Il mio tormento")
E3 ("Ay, ay, ay", "È arrivata primavera", "E la solita storia", "Ideale", "Mi par d'udire ancor")
E♭3 ("Quanto è bella", "Salve, dimora casta e pura", "Solenne in quest'ora", "Trecce d'oro")
D3 ("È arrivata primavera", "Mi par d'udire ancor", "Salve, dimora casta e pura")
C3 ("Il mio tormento")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Giovanni Gravina (1872 - 1912)
Voice Type: Bass
Vocal Range: G♯2-E♭4

Significant High Notes:

E♭4 ("Il lacerato spirito", "La turbini e farnetichi")
D4 ("Il lacerato spirito", "Le rovine… Suore che riposate")
C♯4 ("La turbini e farnetichi", "Le rovine… Suore che riposate")
C4 ("La turbini e farnetichi")
B3 ("Il lacerato spirito", "Le rovine… Suore che riposate")

Significant Low Notes:

C♯3 ("Il lacerato spirito")
B2 ("Il lacerato spirito", "Le rovine… Suore che riposate")
A2 ("Il lacerato spirito", "La turbini e farnetichi")
G♯2 ("La turbini e farnetichi")

[kaji]

Francesco Navarini (1853 - 23 February 1923)
Voice Type: Bass
Vocal Range: E2-A4

Significant High Notes:

A4 ("La calunnia e un venticello")
G4 ("La calunnia e un venticello", "Tu che fai l'adormentata")
F4 ("Chi mi dirà", "Vieni, la mia vendetta", "Vi ravviso, o luoghi ameni")
E4 ("Chi mi dirà", "Ella giammai m'amo", "La calunnia e un venticello", "Propeccatis qui tollis", "Tu che fai l'adormentata")
E♭4 ("Dio dell'or", "Suore che riposate!", "Tu che fai l'adormentata", "Vieni, la mia vendetta", "Vi ravviso, o luoghi ameni", "Voi che del Dio vivente")
D4 ("Del suo cor calmai le penne", "Dio dell'or", "Ella giammai m'amo", "Il lacerato spirito", "La calunnia e un venticello", "Propeccatis qui tollis", "Suore che riposate!", "Tu che fai l'adormentata", "Voi che del Dio vivente")
C♯4 ("Il lacerato spirito", "Suore che riposate!", "Vi ravviso, o luoghi ameni")
C4 ("Chi mi dirà", "Dio dell'or", "Ella giammai m'amo", "La calunnia e un venticello", "Propeccatis qui tollis", "Si oppressi ognor", "Tu che fai l'adormentata", "Vieni, la mia vendetta", "Vi ravviso, o luoghi ameni")

Significant Low Notes:

C3 ("Chi mi dirà", "La calunnia e un venticello", "Propeccatis qui tollis", "Vieni, la mia vendetta", "Vi ravviso, o luoghi ameni")
B2 ("Del suo cor calmai le penne", "Il lacerato spirito", "Suore che riposate!")
B♭2 ("Suore che riposate!", "Voi che del Dio vivente")
A2 ("Del suo cor calmai le penne", "Il lacerato spirito", "Propeccatis qui tollis", "Si oppressi ognor", "Tu che fai l'adormentata")
G2 ("Chi mi dirà", "Ella giammai m'amo", "Voi che del Dio vivente")
F♯2 ("Il lacerato spirito")
F2 ("Si oppressi ognor")
E2 ("La calunnia e un venticello", "Si oppressi ognor")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[Steingrim]

Nov 16, 2023 19:20:04 GMT kaji said:

Giovanni Gravina (1872 - 1912)
Voice Type: Bass
Vocal Range: G♯2-E♭4

Significant High Notes:

E♭4 ("Il lacerato spirito", "La turbini e farnetichi")
D4 ("Il lacerato spirito", "Le rovine… Suore che riposate")
C♯4 ("La turbini e farnetichi", "Le rovine… Suore che riposate")
C4 ("La turbini e farnetichi")
B3 ("Il lacerato spirito", "Le rovine… Suore che riposate")

Significant Low Notes:

C♯3 ("Il lacerato spirito")
B2 ("Il lacerato spirito", "Le rovine… Suore che riposate")
A2 ("Il lacerato spirito", "La turbini e farnetichi")
G♯2 ("La turbini e farnetichi")

There's a G2 right after the G#2.

[kaji]

Nov 17, 2023 8:53:22 GMT Steingrim said:

Nov 16, 2023 19:20:04 GMT kaji said:

Giovanni Gravina (1872 - 1912)
Voice Type: Bass
Vocal Range: G♯2-E♭4

Significant High Notes:

E♭4 ("Il lacerato spirito", "La turbini e farnetichi")
D4 ("Il lacerato spirito", "Le rovine… Suore che riposate")
C♯4 ("La turbini e farnetichi", "Le rovine… Suore che riposate")
C4 ("La turbini e farnetichi")
B3 ("Il lacerato spirito", "Le rovine… Suore che riposate")

Significant Low Notes:

C♯3 ("Il lacerato spirito")
B2 ("Il lacerato spirito", "Le rovine… Suore che riposate")
A2 ("Il lacerato spirito", "La turbini e farnetichi")
G♯2 ("La turbini e farnetichi")

There's a G2 right after the G#2.

Nope, that's A2 followed by G#2.

[kaji]

Lina Bruna Rasa (24 September 1907 - 20 September 1984)
Voice Type: Soprano
Vocal Range: B3-C6

Significant High Notes:

C6 ("Turiddu? Che vuoi dire?")
B5 ("Inneggiamo, il Signor non è morto", "L'altra notte in fondo al mar", "La mamma morta", "La nostra morte", "Rivedrai le foreste", "Spunta l'aurora pallida")
B♭5 ("Ah! lo vedi, che hati tu detto?", "Concertato, ferma ideal purissima", "In quelle trine morbide", "La nostra morte", "Oh, il Signore vi manda, compar Alfio", "Ora soave, sublime ora d'amore!", "Turiddu? Che vuoi dire?", "Udiamo i testimoni!", "Vicino a te s'acquita")
A5 ("Concertato, ferma ideal purissima", "Dite, mamma Lucia", "L'altra notte in fondo al mar", "La nostra morte", "Perché ti volli qui?", "Tu qui, Santuzza?", "Vicino a te s'acquita", "Voi lo sapete, o mamma")
G♯5 ("Ah! lo vedi, che hati tu detto?", "Commosso.. lusingato", "Inneggiamo, il Signor non è morto", "Oh, il Signore vi manda, compar Alfio", "Ora soave, sublime ora d'amore!", "Rivedrai le foreste", "Spunta l'aurora pallida", "Vissi d'arte")
G5 ("Concertato, ferma ideal purissima", "Dite, mamma Lucia", "Eravate possente", "Inneggiamo, il Signor non è morto", "La nostra morte", "Tu qui, Santuzza?", "Vissi d'arte")
F♯5 ("Ah! lo vedi, che hati tu detto?", "Commosso.. lusingato", "Ecco l'altare", "Eravate possente", "Il giorno intorno", "Oh, il Signore vi manda, compar Alfio", "Perché ti volli qui?", "Soffoco moro tutta", "Tu qui, Santuzza?", "Vicino a te s'acqueta", "Voi lo sapete, o mamma", "Voi state bene")
F5 ("Dite, mamma Lucia", "In quelle trine morbide", "L'altra notte in fondo al mar", "La mamma morta", "Oh, il Signore vi manda, compar Alfio", "Ora soave, sublime ora d'amore!", "Rivedrai le foreste", "Vicino a te s'acqueta")
E5 ("Al mio dire perdono", "Concertato, ferma ideal purissima", "Ecco l'altare", "Eravate possente", "Il giorno intorno", "Inneggiamo, il Signor non è morto", "La mamma morta", "Perduto! La mia vita per salvarlo!", "Soffoco moro tutta", "Tu qui, Santuzza?", "Viene a costei concesso", "Voi lo sapete, o mamma", "Voi state bene")

Significant Low Notes:

D4 ("Carlo Gérard?", "Il giorno intorno", "Inneggiamo, il Signor non è morto", "L'altra notte in fondo al mar", "Oh, il Signore vi manda, compar Alfio", "Tu qui, Santuzza?", "Viene a costei concesso")
C♯4 ("Eravate possente", "La mamma morta", "Perché ti volli qui?")
C4 ("Ah! lo vedi, che hati tu detto?")
B3 ("Beato voi, compar Alfio", "Voi lo sapete, o mamma")
........................................
Italics mark non-melodic notes.
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

SPOILER: Click to show

{Discography}
Giordano: Andrea Chénier (1931) - C♯4-B5
Mascagni: Cavalleria rusticana (1938) - B3-C6
Mascagni: Cavalleria rusticana (1940) - B3-C6

[Macca]

Dec 6, 2023 1:00:04 GMT kaji said:

Lina Bruna Rasa (24 September 1907 - 20 September 1984)
Voice Type: Soprano
Vocal Range: B3-C6

Significant High Notes:

C6 ("Turiddu? Che vuoi dire?")
B5 ("Inneggiamo, il Signor non è morto", "L'altra notte in fondo al mar", "La mamma morta", "La nostra morte", "Rivedrai le foreste", "Spunta l'aurora pallida")
B♭5 ("Ah! lo vedi, che hati tu detto?", "Concertato, ferma ideal purissima", "In quelle trine morbide", "La nostra morte", "Oh, il Signore vi manda, compar Alfio", "Ora soave, sublime ora d'amore!", "Turiddu? Che vuoi dire?", "Udiamo i testimoni!", "Vicino a te s'acquita")
A5 ("Concertato, ferma ideal purissima", "Dite, mamma Lucia", "L'altra notte in fondo al mar", "La nostra morte", "Perché ti volli qui?", "Tu qui, Santuzza?", "Vicino a te s'acquita", "Voi lo sapete, o mamma")
G♯5 ("Ah! lo vedi, che hati tu detto?", "Commosso.. lusingato", "Inneggiamo, il Signor non è morto", "Oh, il Signore vi manda, compar Alfio", "Ora soave, sublime ora d'amore!", "Rivedrai le foreste", "Spunta l'aurora pallida", "Vissi d'arte")
G5 ("Concertato, ferma ideal purissima", "Dite, mamma Lucia", "Eravate possente", "Inneggiamo, il Signor non è morto", "La nostra morte", "Tu qui, Santuzza?", "Vissi d'arte")
F♯5 ("Ah! lo vedi, che hati tu detto?", "Commosso.. lusingato", "Ecco l'altare", "Eravate possente", "Il giorno intorno", "Oh, il Signore vi manda, compar Alfio", "Perché ti volli qui?", "Soffoco moro tutta", "Tu qui, Santuzza?", "Vicino a te s'acqueta", "Voi lo sapete, o mamma", "Voi state bene")
F5 ("Dite, mamma Lucia", "In quelle trine morbide", "L'altra notte in fondo al mar", "La mamma morta", "Oh, il Signore vi manda, compar Alfio", "Ora soave, sublime ora d'amore!", "Rivedrai le foreste", "Vicino a te s'acqueta")
E5 ("Al mio dire perdono", "Concertato, ferma ideal purissima", "Ecco l'altare", "Eravate possente", "Il giorno intorno", "Inneggiamo, il Signor non è morto", "La mamma morta", "Perduto! La mia vita per salvarlo!", "Soffoco moro tutta", "Tu qui, Santuzza?", "Viene a costei concesso", "Voi lo sapete, o mamma", "Voi state bene")

Significant Low Notes:

D4 ("Carlo Gérard?", "Il giorno intorno", "Inneggiamo, il Signor non è morto", "L'altra notte in fondo al mar", "Oh, il Signore vi manda, compar Alfio", "Tu qui, Santuzza?", "Viene a costei concesso")
C♯4 ("Eravate possente", "La mamma morta", "Perché ti volli qui?")
C4 ("Ah! lo vedi, che hati tu detto?")
B3 ("Beato voi, compar Alfio", "Voi lo sapete, o mamma")
........................................
Italics mark non-melodic notes.
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

SPOILER: Click to show

{Discography}
Giordano: Andrea Chénier (1931) - C♯4-B5
Mascagni: Cavalleria rusticana (1938) - B3-C6
Mascagni: Cavalleria rusticana (1940) - B3-C6

First "Crying" thread pic i've ever seen

[wbradycall]

Apr 29, 2023 10:19:03 GMT kaji said:

Hello,

In this thread I will be cataloguing both classical and operatic singers' vocal ranges as I am slowly getting through Michael Scott's five volumes of the Record of Singing. 

In the spreadsheet below are all the completed and updated threads will be linked. Relevant information is also going to be provided. Singers with lesser amount of recordings will be posted in this very thread. Singers are listed by both their natural voice and also by the repertoire they chose to perform, hence why someone like Louise Homer is both in the contralto and mezzo-soprano section. Feel free to discuss any things operatic voice in this thread as well.

What are the guidelines for adding opera singers onto here? Can I ask for some suggestions?

[kaji]

Dec 11, 2023 0:22:00 GMT wbradycall said:

Apr 29, 2023 10:19:03 GMT kaji said:

Hello,

In this thread I will be cataloguing both classical and operatic singers' vocal ranges as I am slowly getting through Michael Scott's five volumes of the Record of Singing. 

In the spreadsheet below are all the completed and updated threads will be linked. Relevant information is also going to be provided. Singers with lesser amount of recordings will be posted in this very thread. Singers are listed by both their natural voice and also by the repertoire they chose to perform, hence why someone like Louise Homer is both in the contralto and mezzo-soprano section. Feel free to discuss any things operatic voice in this thread as well.

What are the guidelines for adding opera singers onto here? Can I ask for some suggestions?

It requires a complete or mostly complete, and accurate thread that is posted on this site. 

[wbradycall]

Dec 11, 2023 0:33:11 GMT kaji said:

Dec 11, 2023 0:22:00 GMT wbradycall said:

It requires a complete or mostly complete, and accurate thread that is posted on this site. 

So all of their high notes and low notes?

[wbradycall]

Dec 11, 2023 0:33:11 GMT kaji said:

Dec 11, 2023 0:22:00 GMT wbradycall said:

It requires a complete or mostly complete, and accurate thread that is posted on this site. 

Also may you please do a thread on Apollo Granforte?

[kaji]

Dec 11, 2023 3:45:48 GMT wbradycall said:

Dec 11, 2023 0:33:11 GMT kaji said:

It requires a complete or mostly complete, and accurate thread that is posted on this site. 

So all of their high notes and low notes?

Going through every single recording of opera and disc, and every available performance. But this applies for any thread here. I am way past posting unfinished threads. I am working on over 300 opera singer threads at the moment. 

[wbradycall]

therangeplanet.proboards.com/post/28769/thread

Imperfect but I'm proud. If you'd like you can edit it yourself, too. I admit it's not finished because I haven't completed his discography.