Classical and Operatic Singers Range Thread (8,484 views)

[Macca]

Jul 25, 2023 0:10:38 GMT Goober said:

C4 lows

Well Ellen Beach Yaw’s lowest note is also C4

[kaji]

Marie Gutheil-Schoder (16 February 1874 - 4 October 1935)
Voice Type: Jugendlich-dramatischer sopran
Vocal Range: B♭3-C6

Significant High Notes:

C6 ("Nun eilt herbei")
B5 ("Diese Hand so weich", "Draussem am wall von Sevilla")
A5 ("Diese Hand so weich")
G♯5 ("Horst du es tonen", "Nun eilt herbei")
G5 ("Horst du es tonen", "Nun eilt herbei")
F♯5 ("Draussem am wall von Sevilla")
F5 ("Horst du es tonen", "Nun eilt herbei")
E5 ("Diese Hand so weich", "Draussem am wall von Sevilla")

Significant Low Notes:

C♯4 ("Diese Hand so weich", "Draussem am wall von Sevilla")
C4 ("Nun eilt herbei")
B♭3 ("Draussem am wall von Sevilla")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Jul 25, 2023 0:10:38 GMT Goober said:

C4 lows :very_sad:

Well, I'm not shocked considering that she recorded like 5 pieces, all lying quite high, and all recordings are from before 1905.

[kaji]

Guerrina Fabbri (21 June 1866 - 15 February 1946)
Voice Type: Contralto
Vocal Range: F3-A5

Significant High Notes:

A5 ("Figlio mio", "Una voce poco fa")
G♯5 ("Ah, quel giorno ognor rammento", "Una voce poco fa")
G5 ("Ah! si tu dormi", "Il segreto per esser felici")
F♯5 ("Ah! si tu dormi", "Il segreto per esser felici", "Pensa alla patria, e intrepido")
F5 ("Ascolta. Se Romeo t'uccise un figlio", "Figlio mio")
E5 ("Ah! si tu dormi", "Il segreto per esser felici", "Pensa alla patria, e intrepido", "Una voce poco fa")
E♭5 ("Ah, quel giorno ognor rammento", "Ah! si tu dormi")
D5 ("Ascolta. Se Romeo t'uccise un figlio", "Figlio mio", "Il segreto per esser felici")

Significant Low Notes:

C4 ("Ascolta. Se Romeo t'uccise un figlio", "Figlio mio", "Il segreto per esser felici")
B3 ("Ah, quel giorno ognor rammento", "Ah! si tu dormi", "Pensa alla patria, e intrepido")
B♭3 ("Figlio mio")
G♯3 ("Ah, quel giorno ognor rammento", "Una voce poco fa")
F3 ("Ascolta. Se Romeo t'uccise un figlio")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Eugenia Mantelli (1860 - 3 March 1926)
Voice Type: Mezzosoprano lirico
Vocal Range: G♯3-B5

Significant High Notes:

B5 ("Nacqui all’affanno")
B♭5 ("No, no giammai di giovin paggio", "Que fais-tu, blanche tourterelle", "Una voce poco fa")
A5 ("Il segreto per essere felice", "Io conosco un garzoncel", "La ci darem la mano", "Leggiadre rondinelle", "Me llaman la primorosa", "Non più mesta")
G♯5 ("Les tringles des sistres tintaient", "Nacqui all’affanno", "No, no giammai di giovin paggio", "Non più mesta")
G5 ("Dunque io son", "Good-bye", "Leggiadre rondinelle", "Le parlate d’Amor", "Me llaman la primorosa", "O mio Fernando", "Que fais-tu, blanche tourterelle", "Stride la vampa", "Una voce poco fa", "Voce di donna")
F♯5 ("Ah, l'alto ardor", "Dunque io son", "Io conosco un garzoncel", "La ci darem la mano", "L'amour est un oiseaux rebelle", "Los ojos negros", "Me llaman la primorosa", "Nacqui all’affanno", "Pres des remparts de Séville")
F5 ("Ave Maria", "Der Asra", "Dopo", "Le parlate d’Amor", "Les tringles des sistres tintaient", "No, no giammai di giovin paggio", "O mio Fernando", "Sans toi", "Serenata", "Stride la vampa", "Vaga donna illustre e cara")
E5 ("Ah, l'alto ardor", "Der Asra", "Dopo", "Dunque io son", "Il segreto per essere felice", "La ci darem la mano", "L'amour est un oiseaux rebelle", "Leggiadre rondinelle", "Le parlate d’Amor", "Les tringles des sistres tintaient", "Los ojos negros", "Me llaman la primorosa", "Nacqui all’affanno", "Non più mesta", "O mio Fernando", "Pres des remparts de Séville", "Pur dicesti", "Stride la vampa", "Vaga donna illustre e cara")
E♭5 ("Ave Maria", "Good-bye", "No, no giammai di giovin paggio", "Non più mesta", "Que fais-tu, blanche tourterelle", "Una voce poco fa", "Voce di donna")
D5 ("Ah, l'alto ardor", "Der Asra", "Dopo", "Dunque io son", "Good-bye", "La ci darem la mano", "L'amour est un oiseaux rebelle", "Leggiadre rondinelle", "Le parlate d’Amor", "Los ojos negros", "Me llaman la primorosa", "No, no giammai di giovin paggio", "O mio Fernando", "Pres des remparts de Séville", "Pur dicesti", "Sans toi", "Serenata", "Stride la vampa", "Vaga donna illustre e cara", "Voce di donna")

Significant Low Notes:

C♯4 ("Ah, l'alto ardor", "Der Asra", "Il segreto per essere felice", "Los ojos negros", "Me llaman la primorosa", "Sans toi", "Serenata")
C4 ("Ave Maria", "Dopo", "Io conosco un garzoncel", "Le parlate d’Amor", "Pres des remparts de Séville", "Pur dicesti", "Serenata", "Una voce poco fa", "Vaga donna illustre e cara", "Voce di donna")
B3 ("Der Asra", "Il segreto per essere felice", "Les tringles des sistres tintaient", "Nacqui all’affanno", "Non più mesta", "O mio Fernando", "Pres des remparts de Séville", "Stride la vampa", "Vaga donna illustre e cara")
B♭3 ("Pres des remparts de Séville", "Una voce poco fa", "Voce di donna")
A3 ("Los ojos negros", "Nacqui all’affanno", "Non più mesta", "O mio Fernando", "Sans toi")
G♯3 ("No, no giammai di giovin paggio", "Voce di donna")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Marianne Brandt (12 September 1842 - 9 July 1921)
Voice Type: Contralto
Vocal Range: A3-B♭5

Significant High Notes:

B♭5 ("Ach, mein Sohn")
G5 ("Il segreto per essere felice")
F♯5 ("Ach, mein Sohn", "Frühlingsnacht, op. 39 no. 12")
E5 ("Il segreto per essere felice")
E♭5 ("Frühlingsnacht, op. 39 no. 12")
D5 ("Ach, mein Sohn", "Il segreto per essere felice")

Significant Low Notes:

C♯4 ("Ach, mein Sohn")
C4 ("Il segreto per essere felice")
B3 ("Ach, mein Sohn")
A3 ("Il segreto per essere felice")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Rita Fornia (17 July 1878 - 27 October 1922)
Voice Type: Soprano
Vocal Range: B3-C♯6

Significant High Notes:

C♯6 ("Mazurka, op. 33 no. 2")
C6 ("Que fais-tu, blanche tourterelle")
A5 ("Mazurka, op. 33 no. 2", "Que fais-tu, blanche tourterelle")
G♯5 ("Das Zauberlied", "Der Spielmann 'Du mit diener Fiedel', op. 15 no. 1")
G5 ("Das Zauberlied", "Dein gedenk’ ich, Margaretha, op. 12 no. 2", "Der Spielmann 'Du mit diener Fiedel', op. 15 no. 1", "Faites-lui mes aveux", "Frühlingslied, op. 31 no. 2", "Frülingszeit, op. 3")
F♯5 ("Ah, s’il est dans votre village", "Allerseelen, op. 85 no. 3", "Der Spielmann 'Du mit diener Fiedel', op. 15 no. 1", "Faites-lui mes aveux", "Lo so che alle sue pene", "Tes doux baisers 'Madrigal'")
F5 ("Dein gedenk’ ich, Margaretha, op. 12 no. 2", "Frühlingslied, op. 31 no. 2", "Lo so che alle sue pene", "Mazurka, op. 33 no. 2", "Que fais-tu, blanche tourterelle")
E5 ("Ah, s’il est dans votre village", "Allerseelen, op. 85 no. 3", "Der Spielmann 'Du mit diener Fiedel', op. 15 no. 1", "Faites-lui mes aveux", "Frülingszeit, op. 3", "Mazurka, op. 33 no. 2", "Que fais-tu, blanche tourterelle", "Tes doux baisers 'Madrigal'")

Significant Low Notes:

D4 ("Ah, s’il est dans votre village", "Dein gedenk’ ich, Margaretha, op. 12 no. 2", "Faites-lui mes aveux", "Frülingszeit, op. 3", "Tes doux baisers 'Madrigal'")
B3 ("Mazurka, op. 33 no. 2")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Francesco Tamagno (28 December 1850 - 31 August 1905)
Voice Type: Tenore robusto
Vocal Range: E♭3-C5

Significant High Notes:

C5 ("Di quella pira")
B4 ("Corriam, corriam", "Dei del patrio suol", "Di quella pira", "Esultate!")
B♭4 ("Adieu donc, vains objets", "Corriam, corriam", "Deserto sulla terra", "Figli miei", "O muto asil", "Ora e per sempre", "Re del ciel", "Sopra Berta l'amor mio", "Un di all'azzurro")
A4 ("Adieu donc, vains objets", "Di quella pira", "Esultate!", "Figli miei", "Re del ciel")
G♯4 ("Corriam, corriam", "Dei del patrio suol", "Deserto sulla terra", "Esultate!", "Niun mi tema", "O muto asil", "Ora e per sempre", "Quand nos jours")
G4 ("Adieu donc, vains objets", "Corriam, corriam", "Deserto sulla terra", "Di quella pira", "Figli miei", "Niun mi tema", "O muto asil", "Ora e per sempre", "Quand nos jours", "Re del ciel", "Un di all'azzurro")

Significant Low Notes:

G3 ("Adieu donc, vains objets", "Di quella pira", "Figli miei", "Ora e per sempre")
F♯3 ("Re del ciel")
F3 ("Figli miei", "O muto asil", "Sopra Berta l'amor mio", "Un di all'azzurro")
E3 ("Niun mi tema")
E♭3 ("Corriam, corriam")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Ellen Gulbranson (4 March 1863 - 2 January 1947)
Voice Type: Hochdramatischer sopran
Vocal Range: C4-B5

Significant High Notes:
B5 ("Dich, teure Halle grüss´ ich wieder")
A5 ("Dich, teure Halle grüss´ ich wieder", "Hojotoho! hojotoho! heiaha!")
G5 ("Ack, Värmeland du sköna", "Dich, teure Halle grüss´ ich wieder", "Og jeg vil ha mig en hjertenskær", "Om dagen vid mitt arbete")
F♯5 ("Hojotoho! hojotoho! heiaha!")
F5 ("Ack, Värmeland du sköna", "En svane", "Wesendonck Lieder: No.5 Träume")
E5 ("Dich, teure Halle grüss´ ich wieder", "En svane", "Hojotoho! hojotoho! heiaha!","Og jeg vil ha mig en hjertenskær", "Om dagen vid mitt arbete")
D5 ("En svane", "Og jeg vil ha mig en hjertenskær")

Significant Low Notes:
D4 ("Dich, teure Halle grüss´ ich wieder", "En svane", "Hojotoho! hojotoho! heiaha!", "Wesendonck Lieder: No.5 Träume")
C4 ("Ack, Värmeland du sköna", "Om dagen vid mitt arbete")

[kaji]

Lucie Weidt (11 May 1876 -28 July 1940)
Voice Type: Hochdramatischer sopran
Vocal Range: B♭3-C6

Significant High Notes:
C6 ("Ewig war ich, ewig bin ich")
B5 ("Abscheulicher! Wo eilst du hin?... Komm, Hoffnung", "Act Three Duet from Les Huguenots)
B♭5 ("Ozean, du Ungeheuer")
A5 ("All' meine Pulse schlagen", "Der Männer Sippe sass hier im Saal", "Mild und Leise")
G♯5 ("Ewig war ich, ewig bin ich", "Mild und Leise", "Und ob die Wolke sie verhülle")
G5 ("Abscheulicher! Wo eilst du hin?... Komm, Hoffnung", "All' meine Pulse schlagen", "Der Männer Sippe sass hier im Saal", "Du Ärmste kannst wohl nie ermessen", "Mild und Leise", "Ozean, du Ungeheuer", "Zu neuen Taten, teurer Helde!")
F♯5 ("Abscheulicher! Wo eilst du hin?... Komm, Hoffnung", "Act Three Duet from Les Huguenots, "Allmächt'ge Jungfrau", "All' meine Pulse schlagen", "Wie nahte mir der Schlummer", "Zu neuen Taten, teurer Helde!")
F5 ("Du Ärmste kannst wohl nie ermessen", "Euch Lüften", "Mild und Leise", "Und ob die Wolke sie verhülle", "Zu neuen Taten, teurer Helde!")
E5 ("Abscheulicher! Wo eilst du hin?... Komm, Hoffnung", "Act Three Duet from Les Huguenots, "All' meine Pulse schlagen", "Der Männer Sippe sass hier im Saal", "Du Ärmste kannst wohl nie ermessen", "Ewig war ich, ewig bin ich")
E♭5 ("Allmächt'ge Jungfrau", "Euch Lüften", "Mild und Leise", "Ozean, du Ungeheuer", "Und ob die Wolke sie verhülle", "Wie nahte mir der Schlummer", "Zu neuen Taten, teurer Helde!")
D5 ("Act Three Duet from Les Huguenots, "All' meine Pulse schlagen", "Der Männer Sippe sass hier im Saal", "Du Ärmste kannst wohl nie ermessen", "Euch Lüften", "Ewig war ich, ewig bin ich")

Significant Low Notes:
D4 ("Abscheulicher! Wo eilst du hin?... Komm, Hoffnung", "Act Three Duet from Les Huguenots, "Zu neuen Taten, teurer Helde!")
C♯4 ("Allmächt'ge Jungfrau", "All' meine Pulse schlagen", "Der Männer Sippe sass hier im Saal", "Wie nahte mir der Schlummer")
C4 ("Act Three Duet from Les Huguenots, "Zu neuen Taten, teurer Helde!")
B3 ("Abscheulicher! Wo eilst du hin?... Komm, Hoffnung", "Der Männer Sippe sass hier im Saal", "Wie nahte mir der Schlummer")
B♭3 ("Ozean, du Ungeheuer")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Elda di Veroli (7 July 1892 - 25 February 1981)
Voice Type: Lirico-leggero soprano
Vocal Range: C4-E6

Significant High Notes:
E6 ("Ah! non giunge", "Gli angui d'inferno sentomi nel petto")
E♭6 ("Alfin son tua", "Io son Titania", "Ombra leggiera", "Sì, vendetta")
D6 ("Una voce poco fa")
C♯6 ("Gli angui d'inferno sentomi nel petto")
C6 ("Ah! Veglia o donna", "Alfin son tua", "Io son Titania", "Ombra leggiera", "Una voce poco fa")
B5 ("Ah! non giunge", "Alfin son tua")
B♭5 ("Ah! Veglia o donna", "Gli angui d'inferno sentomi nel petto", "Ombra leggiera", "Sì, vendetta")
A5 ("Io son Titania", "Una voce poco fa")
G♯5 ("Ah! non credea mirarti", "Ah! Veglia o donna", "Gli angui d'inferno sentomi nel petto", "Io son Titania", "Ombra leggiera")
G5 ("Alfin son tua")
F♯5 ("Ah! non credea mirarti", "Ah! non giunge", "Ah! Veglia o donna", "Gli angui d'inferno sentomi nel petto", "Io son Titania", "Sì, vendetta")
F5 ("Ah! Veglia o donna", "Ombra leggiera", "Sì, vendetta", "Una voce poco fa")
E5 ("Ah! non credea mirarti", "Ah! non giunge", "Alfin son tua")

Significant Low Notes:
E4 ("Ah! non giunge", "Alfin son tua")
D4 ("Ah! non giunge")
C♯4 ("Ombra leggiera")
C4 ("Io son Titania", "Una voce poco fa")

........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Vera de Luce (or Vera Vladimirovna Luze) (1879 - 1977)
Voice Type: Soprano drammatico d'agilità
Vocal Range: B♭3-F6

Significant High Notes:
F6 ("Der Hölle Rache kocht in meinem Herzen")
E♭6 ("Proch Variations", "Quel guardo il cavaliere")
D6 ("A ce mot tout s'anime")
C♯6 ("A ce mot tout s'anime", "Caro nome che il mio cor", "Proch Variations")
B5 ("A ce mot tout s'anime", "Caro nome che il mio cor", "Ô beau pays de la Touraine", "Quel guardo il cavaliere")
B♭5 ("Der Hölle Rache kocht in meinem Herzen")
A5 ("Der Hölle Rache kocht in meinem Herzen")
G♯5 ("Caro nome che il mio cor", "Proch Variations")
G5 ("Ô beau pays de la Touraine")
F♯5 ("A ce mot tout s'anime", "Caro nome che il mio cor", "Quel guardo il cavaliere")
F5 ("Der Hölle Rache kocht in meinem Herzen", "Proch Variations")
E5 ("Caro nome che il mio cor", "Ô beau pays de la Touraine", "Quel guardo il cavaliere")

Significant Low Notes:
E♭4 ("Caro nome che il mio cor", "Proch Variations")
D4 ("Ô beau pays de la Touraine", "Quel guardo il cavaliere")
B♭3 ("Proch Variations")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

John Coates (29 June 1865 - 16 August 1941)
Voice Type: Tenor
Vocal Range: C3-B♭4

Significant High Notes:

B♭4 ("Dai campi, dai prati", "Ninetta")
A4 ("Dai campi, dai prati", "Taliessin's Song")
G♯4 ("Awake", "Blow, blow, thou winter wind", "Come not when I am dead", "Lawn as white as driven snow", "Phillida flouts me", "Speak, music!", "Take a pair of sparkling eyes", "Taliessin's Song")
G4 ("Awake", "Blow, blow, thou winter wind", "Come into the garden", "Dai campi, dai prati", "Ninetta", "Sigh no more, Ladies", "The knotting song", "Winterstürme wichen dem Wonnemond")
F♯4 ("At the mid hour of night", "Blow, blow, thou winter wind", "It was a lover and his lass", "Lawn as white as driven snow", "Phillida flouts me", "Speak, music!", "Take a pair of sparkling eyes", "Taliessin's Song")
F4 ("Awake", "Come into the garden", "Come not when I am dead", "Dai campi, dai prati", "Ninetta", "Phillida flouts me", "Sigh no more, Ladies", "Speak, music!", "Take a pair of sparkling eyes", "The knotting song", "Winterstürme wichen dem Wonnemond")

Significant Low Notes:

F3 ("At the mid hour of night", "Dai campi, dai prati", "Phillida flouts me", "The knotting song", "Winterstürme wichen dem Wonnemond")
E3 ("Come into the garden", "Come not when I am dead", "I love thee", "Lawn as white as driven snow", "Taliessin's Song", "The knotting song")
E♭3 ("At the mid hour of night", "Awake", "Blow, blow, thou winter wind")
D3 ("Come not when I am dead")
C3 ("Winterstürme wichen dem Wonnemond")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Alice Cucini (1870 - 1949)
Voice Type: Mezzosoprano drammatico
Vocal Range: A3-B♭5

Significant High Notes:

B♭5 ("Condotta ell'era in ceppi")
A5 ("Condotta ell'era in ceppi", "Leggiadre rondinelle")
G♯5 ("Agnus Dei")
G5 ("Condotta ell'era in ceppi", "J'ai faim, j'ai froid! N'importe! La tombe est plus froide encor!", "O mio Fernando", "Stride la vampa", "Voce di donna")
F♯5 ("J'ai faim, j'ai froid! N'importe! La tombe est plus froide encor!", "Leggiadre rondinelle", "Non conosci il bel suol?", "S'apre per te il mio cor", "Stride la vampa")
F5 ("O mio Fernando", "Voce di donna")
E5 ("Agnus Dei", "Condotta ell'era in ceppi", "J'ai faim, j'ai froid! N'importe! La tombe est plus froide encor!", "Leggiadre rondinelle", "Non conosci il bel suol?", "O mio Fernando", "Stride la vampa", "Vieni al mio castel")
E♭5 ("Ai nostri monti", "S'apre per te il mio cor", "Voce di donna")
D5 ("Agnus Dei", "Ai nostri monti", "Condotta ell'era in ceppi", "J'ai faim, j'ai froid! N'importe! La tombe est plus froide encor!", "Leggiadre rondinelle", "Non conosci il bel suol?", "O mio Fernando", "O aprile foriero", "Stride la vampa", "Vieni al mio castel")

Significant Low Notes:

D4 ("Agnus Dei", "Leggiadre rondinelle", "O aprile foriero", "Vieni al mio castel")
C♯4 ("Ai nostri monti")
C4 ("Agnus Dei", "O mio Fernando", "S'apre per te il mio cor")
B3 ("J'ai faim, j'ai froid! N'importe! La tombe est plus froide encor!", "O mio Fernando", "Stride la vampa", "Vieni al mio castel")
B♭3 ("Ai nostri monti", "O aprile foriero", "S'apre per te il mio cor", "Voce di donna")
A3 ("Condotta ell'era in ceppi")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

Anton van Rooy (1 January 1870 - 28 November 1932)
Voice Type: Heldenbariton
Vocal Range: B♭2-G♯4

Significant High Notes:
G♯4 ("Nur eine Hoffnung soll mir bleiben")
F♯4 ("Wanderlied")
F4 ("Abendlich strahlt der Sonne Auge", "Dank, Konig, dir", "Der Asra", "Jerum! Jerum! Hallo-hallo-he!", "Votre toast")
E4 ("Abendlich strahlt der Sonne Auge", "Als du in kuhnem Sange uns bestrittest", "Das Mühlrad", "Der Asra", "Der Lindenbaum", "Leb' wohl, du kühnes, herrlisches Kind", "Nur eine Hoffnung soll mir bleiben", "O kehr zuruck, du kuhne Sanger", "Wanderlied", "Wie Todesahnung Dämm'rung deckt die Lande")
E♭4 ("Blick' ich umher in diesem edlen Kreise", "Dank, Konig, dir", "Die beiden Grenadiere", "Jerum! Jerum! Hallo-hallo-he!", "Nur eine Hoffnung soll mir bleiben", "Phyllis und die Mutter", "Votre toast")
D4 ("Als du in kuhnem Sange uns bestrittest", "Blick' ich umher in diesem edlen Kreise", "Dank, Konig, dir", "Das Mühlrad", "Der Asra", "Leb' wohl, du kühnes, herrlisches Kind", "Nur eine Hoffnung soll mir bleiben", "O kehr zuruck, du kuhne Sanger", "Wanderlied", "Wie Todesahnung Dämm'rung deckt die Lande")

Significant Low Notes:
D3 ("Als du in kuhnem Sange uns bestrittest", "Blick' ich umher in diesem edlen Kreise", "Das Mühlrad", "Der Asra", "Jerum! Jerum! Hallo-hallo-he!", "Phyllis und die Mutter", "Wie Todesahnung Dämm'rung deckt die Lande", "Wanderlied")
C♯3 ("Die beiden Grenadiere", "Leb' wohl, du kühnes, herrlisches Kind", "Votre toast")
C3 ("Abendlich strahlt der Sonne Auge", "Dank, Konig, dir", "Jerum! Jerum! Hallo-hallo-he!", "Nur eine Hoffnung soll mir bleiben")
B2 ("Blick' ich umher in diesem edlen Kreise", "Der Asra", "Der Lindenbaum", "Die beiden Grenadiere", "Leb' wohl, du kühnes, herrlisches Kind", "Wanderlied")
B♭2 ("Abendlich strahlt der Sonne Auge", "Am Meer", "Votre toast", "Wie Todesahnung Dämm'rung deckt die Lande")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

[kaji]

As I have finally aquired the print version of the Record of Singing (both volumes), I will begin to post here what Michael Scott has written about the singers I analyse if these singers are included in the books.

Starting with what he has written about the singers I have posted thus far. I will post these all in separate posts due to the size of the content for some of them.

SPOILER: Click to show

{Anton van Rooy}
    The greatest of Stockhausen’s pupils was the Dutch baritone ANTON VAN ROOY (1870-1932), a commanding-looking man with a noble voice. Originally he was a recital and concert artist, and it was not until he was twenty-seven that he made his operatic debut. This was at the direct instigation of Cosima Wagner; at the Bayreuth Festival of 1897 he sang Wotan in the Ring cycle and created a furore. He soon established himself as one of the greatest artists of his day and returned to Bayreuth regularly as Sachs, Kurwenal, Amfortas and the Dutchman. From 1898 he appeared at Covent Garden and the Met. Aldrich described his Amfortas, which he sang at the Met on Christmas Day 1903, as—

noble, heart-rending in its pathos, deeply moving in its utterance of the agony of the soul which he bears, sometimes denoting a greater robustness of body than the posture of circumstances would seem to warrant, yet perhaps thereby only increasing the poignancy of the pain under which he suffers.

    This was in fact the first performance of Parsifal given outside Bayreuth. Until that time the work had been the sole prerogative of the Festspielhaus, it was given at the Met in defiance of Cosima’s explicit diktat. By making himself a party to this heresy, van Rooy brought his Bayreuth career to a premature ending. He continued to appear in New York until 1908, and returned to Covent Garden for the last time in 1913, but by that time, though he was only forty-three, his voice was worn out. During his first Covent Garden season he had appeared in recital at the St James’s Hall and confirmed his original reputation as a great interpreter of songs, in particular of Schumann’s Dichterliebe.

    Van Rooy’s records were made between 1902 and 1908. They show us a voice, though seemingly of ample proportions, rather lighter in timbre than we might have expected from a great and authorative Wotan. The high notes are its chief glory, the lower octave is by comparison weak; the first D below middle C is a poor note and there seems to be nothing at all below the B-flat. The upper range is of a singularly beautiful quality with clear vowels and silvery tone; a rapid but narrow vibrato, more apparent in his later recordings, is never disturbing. The declamation is eloquent and contrived without breaking up the line. It is said his voice failed as a result of the forceful manner he acquired from Julius Kniese; if this so it is odd that there should be so little sign of it on his records. Wotan’s ‘Abenlich strahlt from Rheingold is done with majestic authority yet suavely phrased. In the Farewell from Walküre we can endorse Aldrich’s judgement — in spite of the ludicrously thin accompaniment — an interpretation ‘magnificent in its breadth and accent of sorrow’.

[kaji]

Aug 6, 2023 2:22:48 GMT kaji said:

John Coates (29 June 1865 - 16 August 1941)
Voice Type: Tenor
Vocal Range: C3-B♭4

Significant High Notes:

B♭4 ("Dai campi, dai prati", "Ninetta")
A4 ("Dai campi, dai prati", "Taliessin's Song")
G♯4 ("Awake", "Blow, blow, thou winter wind", "Come not when I am dead", "Lawn as white as driven snow", "Phillida flouts me", "Speak, music!", "Take a pair of sparkling eyes", "Taliessin's Song")
G4 ("Awake", "Blow, blow, thou winter wind", "Come into the garden", "Dai campi, dai prati", "Ninetta", "Sigh no more, Ladies", "The knotting song", "Winterstürme wichen dem Wonnemond")
F♯4 ("At the mid hour of night", "Blow, blow, thou winter wind", "It was a lover and his lass", "Lawn as white as driven snow", "Phillida flouts me", "Speak, music!", "Take a pair of sparkling eyes", "Taliessin's Song")
F4 ("Awake", "Come into the garden", "Come not when I am dead", "Dai campi, dai prati", "Ninetta", "Phillida flouts me", "Sigh no more, Ladies", "Speak, music!", "Take a pair of sparkling eyes", "The knotting song", "Winterstürme wichen dem Wonnemond")

Significant Low Notes:

F3 ("At the mid hour of night", "Dai campi, dai prati", "Phillida flouts me", "The knotting song", "Winterstürme wichen dem Wonnemond")
E3 ("Come into the garden", "Come not when I am dead", "I love thee", "Lawn as white as driven snow", "Taliessin's Song", "The knotting song")
E♭3 ("At the mid hour of night", "Awake", "Blow, blow, thou winter wind")
D3 ("Come not when I am dead")
C3 ("Winterstürme wichen dem Wonnemond")
........................................
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.

Quite a lengthy excerpt from Scott on Coates and his voice:

SPOILER: Click to show

{John Coates}
    It is surprisng that the name of Gervase Elwes is better known than that of JOHN COATES (1865-1941); though Elwes had a prettier voice, in almost all other respects he was nothing like so finished a singer and Coates’s career which continued until he was over seventy was wider in its range of accomplishments. Gerald Moore refers to him as ‘the finest and most imaginative of tenors’. Almost any of the large number of records he made confirms this. As a boy singing in a church choir, he came under the influence of Gregorian chant ‘and grasped the idea that truth of accent was the life of singing’. At first his progress was slow and his studies without system. In 1893 after an engagement as Valentin with the Carl Rosa company he took some lessons from William Shakespeare, who advised him that he had ‘the typical tenor E’. However, it was as a baritone that he appeared with the D’Oyly Carte company the following year at the Savoy and subsequently on tour in the United States. After a couple of seasons spent in musical comedy, in 1896 he underwent an operation on the vocal cords; to his surprise when the voice returned it was fresher and unequivocally a tenor. He made his operatic debut at Covent Garden in 1901 as Claudio in Stanford’s Much Ado About Nothing, and followed it with Faust. Until the First World War he was busy in a wide variety of musical activities. At Covent Garden in seasons given by Moody-Manners, the Carl Rosa, Beecham and Raymond Roze, he sang Don José, Faust, Lohengrin, Pedro in Tiefland, Hoffmann, Tannhäuser and Tristan. In the provinces he appeared with the Denhof and Quinlan companies and at His Majesty’s with Beecham, and the Lyric with Moody Manners, as Mark in Dame Ethel Smythe’s Wreckers, Siegfried, Lionel in Missa’s Muguette, Dick Johnson and Radamès. Abroad he was a guest at Cologne as Roméo, Faust and Lohengrin and also at Dresden, Hamburg, Dusseldorf, Frankfurt and Amsterdam.

    From 1901 he was a popular figure at most of the big English music festivals, at Leeds, Worcester, Brighton and Norwich as well as at the Crystal Palace. His oratorio repertory was all-embracing and included the Messiah and Belshazzar by Handel, Mendelssohn’s St Paul and Elijah, Bach’s St Matthew Passion, Elgar’s Dream of Gerontius and King Olaf and Saint-Saëns’s Promised Land. In 1906 he was at the Cincinatti Festival and during the next twenty years often returned to the United States. Occasionally he reappeared in musical comedy but it was as a singer of songs that he was most greately renowned. A typical programme embraced works from Morley and Bach to Cyril Scott and Reger. He was a regular soloist in Wagner concerts and often sang the title-role in concert performances of Parsifal;

As a singer he is a master of many styles, from the grave to the gay. He can bill and coo the most tender phases of the great passion, or he can electrify you with his dramatic intensity. His diction makes his singing as plain as speech, and his phrasing and accentuation, both musical and verbal, show a rare sensitiveness to fine subtleties. But after all it is the obvious sincerity of the expression and the intellectuality of his singing that magnetise his hearers. The best of the finest music is revealed. He is best with the best music and can only move when he is moved.

    After the war he made comparatively few appearences on stage, though in 1921 at Covent Garden he sang Don José and Lohengrin with the Carl Rosa company. During the twenties he was principally occupied in concert work, giving four or five recitals each season in London, ranging over German, French and English song. He undertook tours throughout the provinces and abroad, especially in Australia and South Africa.

    Coates’s voice is a sound instrument of good quality: it is his way of using it that is exceptional. His singing represents the English ballad and oratorio tradition at its most admirable. Though sorely taxed at moments in ‘Cielo e mar he makes no compromises, there is no blustering; the execution is of exceptional accuracy, every note cleanly attacked and the whole piece given life and vitality through the clarity of the diction. This is one of the most beautiful features in Balfe’s lovely setting of Tennyson’s ‘Come into the garden Maud’, where tone and text are blended with a classical perfection, the two inextricably interwoven. It is a fascinating performance, rich in detail, full of affection without sentimentality — how vividly he conveys expectation in the coda by his lithe, respnsive command of rhythm. A couple of Weckerlin arrangements of old French songs ‘Entendez vous?’ and ‘Le beau séjour’ are done with delightful spirit, the enunciation idiomatic yet without the affectation heard in recordings of many French singers. ‘John’s Wife’ by Roeckel shows off his considerable skill in mezza voce and clever management of the head voice. This he uses to particular effect on the difficult high B-flat at the end of ‘Heavenly Aida’; those who must have Radamès with a brilliant Italian voice miss a great deal, for here is a splendid piece of declamation in the English tradition reminding us of Edward Lloyd. His singing had genuine charm, as we can hear in Brewer’s ‘Ninetta’ and his perfect taste is an object lesson. Remarkable for imagination is Wright’s ‘La vie est vaine’ and Mallison’s ‘Eldorado’ (Kipling), where the graces have a chiselled perfection. He went on making records into the twenties, his interpretative skill unimpaired, but the voice shows the strain of his various operatic activities, not to mention the long runs in musical comedy. One of the finest English singers on record.

[kaji]

Not an opera singer per se but a classical contralto who sang in the tenor range and sang tenor arias:
therangeplanet.proboards.com/thread/3193/ruby-helder

Another one of a similar voice but a bit lower of a tessitura is Bally Prell who I also posted recently.
therangeplanet.proboards.com/thread/3192/bally-prell

[Steingrim]

Aug 9, 2023 13:39:47 GMT kaji said:

Not an opera singer per se but a classical contralto who sang in the tenor range and sang tenor arias:
therangeplanet.proboards.com/thread/3193/ruby-helder

Another one of a similar voice but a bit lower of a tessitura is Bally Prell who I also posted recently.
therangeplanet.proboards.com/thread/3192/bally-prell

Ruby Helder has a very masculine sound when singing low. Not all contraltos sound particularly masculine. Since people were complaining about her ability to sing the high notes of the tenor register, maybe her true range resembled more that of a baritone, just like Bally Prell's ? D3 seems very easy for her.

[kaji]

Aug 9, 2023 17:20:37 GMT Steingrim said:

Aug 9, 2023 13:39:47 GMT kaji said:

Not an opera singer per se but a classical contralto who sang in the tenor range and sang tenor arias:
therangeplanet.proboards.com/thread/3193/ruby-helder

Another one of a similar voice but a bit lower of a tessitura is Bally Prell who I also posted recently.
therangeplanet.proboards.com/thread/3192/bally-prell

Ruby Helder has a very masculine sound when singing low. Not all contraltos sound particularly masculine. Since people were complaining about her ability to sing the high notes of the tenor register, maybe her true range resembled more that of a baritone, just like Bally Prell's ? D3 seems very easy for her.

Oh definitely not. Ruby Helder was a voice that of a lyrical tenor. Masculine maybe sometimes, but she was not comfortable down there. She struggled to go below E3 most of the time. And her upper register was quite a bit lighter usually. Bally however, her entire tessitura was quite a bit lower. Of course she also sang lower just to impress people with her lower register, but her voice sat around a semitone and a half lower than Ruby's to my ear. 

[Steingrim]

Aug 9, 2023 17:33:40 GMT kaji said:

Aug 9, 2023 17:20:37 GMT Steingrim said:

Ruby Helder has a very masculine sound when singing low. Not all contraltos sound particularly masculine. Since people were complaining about her ability to sing the high notes of the tenor register, maybe her true range resembled more that of a baritone, just like Bally Prell's ? D3 seems very easy for her.

Oh definitely not. Ruby Helder was a voice that of a lyrical tenor. Masculine maybe sometimes, but she was not comfortable down there. She struggled to go below E3 most of the time. And her upper register was quite a bit lighter usually. Bally however, her entire tessitura was quite a bit lower. Of course she also sang lower just to impress people with her lower register, but her voice sat around a semitone and a half lower than Ruby's to my ear. 

www.contraltocorner.com/ruby-helder.html

They list her as a "contralto profundo" and her "working range" as C3-C5. "A Gramophone magazine review reflected the opinion of Helder’s abilities by certain critics. “Miss Helder, if she will forgive me saying so, has a fresh voice, a tenor, yet not a tenor… it is quite lacking in the characteristic power and expression of the tenor’s top register.”

[kaji]

Tiefer alt is the proper term for a genuine low contralto, which Ruby is not. She sings like a tenor but her passaggi are not that of a tiefer alt. Close, but not exactly. And yep, they're right. Her upper register was quite light usually, she had to force her voice to get the power up there.

[Steingrim]

Aug 10, 2023 1:43:59 GMT kaji said:

Tiefer alt is the proper term for a genuine low contralto, which Ruby is not. She sings like a tenor but her passaggi are not that of a tiefer alt. Close, but not exactly. And yep, they're right. Her upper register was quite light usually, she had to force her voice to get the power up there.

How would you define the chest ranges and passaggi of a contralto, tenor and tiefer alt ? The fach entry on wikipedia lists "tiefer alt" as E3-E5. Which obviously includes head voice, nonetheless it starts much higher than the tenor ranges do.

[kaji]

Aug 10, 2023 10:06:04 GMT Steingrim said:

Aug 10, 2023 1:43:59 GMT kaji said:

Tiefer alt is the proper term for a genuine low contralto, which Ruby is not. She sings like a tenor but her passaggi are not that of a tiefer alt. Close, but not exactly. And yep, they're right. Her upper register was quite light usually, she had to force her voice to get the power up there.

How would you define the chest ranges and passaggi of a contralto, tenor and tiefer alt ? The fach entry on wikipedia lists "tiefer alt" as E3-E5. Which obviously includes head voice, nonetheless it starts much higher than the tenor ranges do.

I've notewatched quite a few contralti, and continue to do so lately, both pop and classical. It seems on average their classical range is between low D3 to a high A5, although the bottom D is more within comfort of their voice than the high A. In terms of passaggi, an average contralto has them at a middle D or D-sharp and a G4 or G-sharp. Which is akin to that of a leggero or light tenor. A low contralto or tiefer alt or contralto profundo as you said (although there is no known mention of that term in Italian literature) has their passaggi usually around C-sharp and F-sharp, in rare cases on C and F (she is not singing properly so I cannot assess this but I suspect that is where Moms Mabley's and Dynelle Rhodes' passaggi would be located). The average range for a modern or contemporary contralto is usually around low A2 to a high D5. Sometimes higher, sometimes lower. The highest belted notes I've observed from contraltos are F#5 and G5, the former being from Izora Armstead of the Weather Girls (whose daughter Dynelle I mentioned earlier), and the latter from a gospel contralto Dorothy Hunt who appears only on a very limited amount of recordings. Range is not blocked off by voice type, even when we talk of very high belting or mixing or head range, but it is certainly unusual to hear this. 

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

[Steingrim]

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.