Candice Zhiuyan Luo

Vocal Pedagogy Research Paper

​ r not to ​Fach?​ - a Discussion on Appropriate Teachings of ​Fach

To ​Fach o

in Trainings for Female Operatic High Voice

March 21st 2020

 Abstract

One of the greatest challenges for a singer is the search for vocal identity. A singer

is not achieving their full potential unless the voice is developing freely and

authentically - all qualities are being attended and cultivated; training in great varieties

of repertoires, techniques, and roles. This requires vocal pedagogues to develop a

professional and healthy system of voice training. They need to utilize discerning voice

training approaches, professional yet supple language, and an ethical understanding of

the ever-changing voice of a student. As well, vocal pedagogues need to have

accumulated a variety of repertoire collections for different ​fach​ and voice parts. This is

crucial in one’s teaching career because they would need to assign cross-​fach

repertoire/roles flexibly, in order to cultivate all vocal qualities and potentials of each

student’s voice. Vocal pedagogues need to customize unique repertoire suggestion lists

for each and every student periodically, carefully tracking every subtle change and

development in their voice. This is an adapting teaching philosophy to accommodate

and cultivate each unique, distinct, and ever-changing voice.

This research is motivated by a personal crisis of establishing a sense of vocal

identity and struggles in repertoire research. The origin and uses of the ​fach​ system are

researched and explained; and a list of ​zwischen/​cross-​fach​ roles/repertoire is created

and shared to help cultivate young female operatic voices. This paper includes a

discussion of appropriate ways vocal pedagogues could reference and incorporate the

fach​ system in their teaching to chaperone a singer’s development. In a way, the

findings of this research propose a new approach of voice training with a pivotal view

and use of ​fach​.

 Introduction

Teachings of ​fach​ can be useful in training young female high voices. However,

vocal pedagogues must keep in mind that ​fach​ assignments can be make-or-break

moments in the studio. Vocal pedagogues need to realize that young singers establish a

strong sense of identity and a connection to the rest of the singers’ community, through

their voice-type/vocal-identity. The label of a voice type, no matter how broad (tenor,

baritone, alto, soprano etc.), puts the singer in a certain spot somewhere in the singers’

playing field. It is a food chain, really. Singers’ voice types affect the way they perceive

and act around each other. What an irony it is, that the ​fach/​ voice type can be the one

thing that unites singers, but also tears apart their social circles and even senses of self

awareness, self worth, and self esteem.

Voice categorization needs flexibility. The human voice is unique, supple, fluid,

and ever-changing. The ​Fach​ system is rigid, subjective, restrictive, and assigned. The

fach ​system emerged in early 19th-century Europe. Vocal pedagogy techniques, vocal

aesthetics, performance practices, and the voices themselves have evolved and changed

drastically since the time of ​fach’​ s emergence. Assignment of ​fach​ can have a crucial

impact on a singer’s musicianship, mental and technical developments, professional

attitude/motivation, and individual identity. The realm of opera singing seems to stress

so strongly on the ​fach​ system, it pressures young singers to subscribe to it. At times, it

almost seems like if one does not have a set ​fach​, they are a no-name singer. feeling as

though one has to subscribe to one certain voice type can be painfully restricting and

damaging to a young singer’s early professional career. Young singers have not come a
long way in their careers, they have not developed a strong, secure sense of identity.

Now that is a dangerous thing: without the sense of vocal identity/belonging, it is likely

for the singer to feel unmotivated, invalidated, and unappreciated. Vocal pedagogues

need to be the beacons for their students. Teaching them to appreciate their voice, and

to love their voice, if no one else will. Students have a strong urge to feel loved and

appreciated by their teachers. A word of validation or appreciation can save the young

singer so much frustration and hours of self-loathe in the practice room. It is time for

vocal pedagogues to demand their students of joy and mental stability, instead of

craftsmanship and technical progress.

Every singer’s voice sits somewhere all its own on the color wheel of vocal

qualities. Two voices of the same ​fach​ may sound like variations of each other. Although

they may have a similar primary tone/colour; each voice holds nuances that make it

distinct from the other. For example, soubrette singer Kathleen Battle, has much more

flutter in her tone than Barbara Bonney, who is also generally considered a soubrette

singer. Vocal pedagogues need to understand that ​fach​ is not a prescription of one’s

vocal qualities, and certainly not one’s vocal capabilities. It is also vital for vocal

pedagogues not to suppress or ignore the qualities one possesses, outside the

descriptions/generalization of their ​fach​.

In vocal pedagogy, ​fach​ could be a resource of reference for performance teaching

- ​fach​ is closely associated with a character’s personality, demeanor, character

development within the storyline, and often their social hierarchy. It may also be a

useful reference tool for repertoire research but it should never be a label one puts on
their student, especially when training professional voices. The job for all pedagogues is

to help their students reach their full potential. Vocal pedagogues shall strive to help

their students achieve a state of authenticity - cultivated techniques and all of the voice’s

qualities developed to its fullest. This requires both the student and the instructor to

look beyond the horizon ​fach​ provides you, and fully embrace every nuance the voice

has to offer. It is encouraged for vocal pedagogues to teach ​zwischen,​ which means ‘in

between’. ​Zwischen1 is a much more modern voice classification. It is relevant not only

because it makes more sense to the modern population, it also embraces the nuances

within the human voice. Each vocal pedagogue needs to develop in their students a wide

palette of cross-category vocal techniques, character studies, and repertoire.

This paper will discuss appropriate pedagogical language for shaping and

chaperoning singers development; ways in which vocal pedagogues could reference and

incorporate the ​fach​ system in teaching; as well as a collection of ​zwischen r​ oles and

repertoires that induces authentic vocal cultivation.

1
​McGinnis, ​Opera Singer's Guide,​ 22-28.
 Methodology

This research can be divided into three main components: reading/gathering of

information regarding the fach system, analysing potential and appropriate ways vocal

pedagogues can involve fach in their teaching, and repertoire research using a collection

of female high voice anthologies.

This research frequently refers to McGinnis’ studies in understanding the

European fach system, and discusses McGinnis’ findings and teachings in her book The

Opera Singer’s Career Guide. As well, Sandra Cotton’s studies in voice classification and

historical practices of the fach system provided this research more insight regarding

pedagogical uses of fach. Because this research is conducted by a young female singer

and pedagogue of other young female voices, this research focuses on pedagogical

research and teachings for the adolescent voices (especially the female high voice).

Bridget Sweet’s books ​Growing Musicians: Teaching Music in Middle School and

​ nd ​Thinking Outside the Voice Box: Adolescent Voice Change in Music

Beyond a

​ rovide interesting discussions about ethical training and nurturing young

Education p

voices. Dr Sweet shares a lot of opinions on the positive growth and healthy

developments of adolescent singers. Dr Sweet’s teaching philosophies inspire this

research to propose an ethical way of vocal pedagogy to train the young female high

voice; letting the voice be all that it can be, instead of what a vocal table prescribes.

The outcome of this research presents a manual of appropriate pedagogical

guidelines and language for teaching ​fach​ in the voice studio, and a list of repertoires

with instructions of cross-​fach​ voice training.

 Findings and Discussion

Section I: pros and cons of ​fach

McGinnis states that ​fach​ serves as a practical and commercial tool in opera

houses and other opera-related music facilities to categorize singers2. McGinnis

attributes ​Fach t​ o eight primary factors: voice, range, size, timbre, physical build,

age/experience, desire, and frequency of performance3. As well, the ​fach​ system groups

​ re expected to learn and

opera roles into specific voice types. Singers of a specific ​fach a

perform roles associated with that ​fach4. This means that ​fach​ refers the singer to a

unique, completely-different-from-others realm of techniques, repertoires, and

learning/performing experiences. This might make a singer’s life easier within an opera

house, under a three-year contract. However, it is definitely restrictive for singers who

are still learning, developing, and establishing their own place in the field.

Fach​ associates operatic characters with a singer’s qualities in every aspect of

their being. These qualities are not only vocal natures of the singer, but also those of

physical appearance, temperamental demeanour, age, life experiences, desires, and

social normative perceptions and stereotypes. Frankly, all these qualities are unstable in

young singers. McGinnis states that many singers change ​fach’​ s more than once

throughout their careers5. Richard Boldrey shares a different, rather pro-​fach​ opinion in

the foreword of his book ​Guide to Operatic Roles & Arias.​ He believes the ​fach​ system is

what regulates singers’ employment in an opera house, and insures singers mental

2
​Pearl McGinnis, ​The Opera Singer's Career Guide: Understanding the European Fach System (​ Lanham, Maryland: Scarecrow
Press Inc, 2010)​, ​20-21.
3
​Ibid, 54.
4
Richard Boldrey, ​Guide to Operatic Roles & Arias (​ Dallas: Pst...Inc, 1994). 42.
5
​Pearl McGinnis, ​The Opera Singer's Career Guide: Understanding the European Fach System (​ Lanham, Maryland: Scarecrow
Press Inc, 2010)​, ​29.
sanity. He states that ​fach s​ pecificity assures both of reliable performances for the opera

house, as well as protection for the singer, since it is provided that the singer would not

be expected to sing outside of their assigned ​fach6. Boldrey expands on his point and

states that commiting to a ​fach​ helps the singer increase knowledge of the repertoire

and expands their exposure to relevant roles7. This presents a massive discourse:

should young singers subscribe and be assigned to ​fach’​ s for easier career planning (for

the sake of repertoire research and/or auditioning for roles)? Or should they stay

fach-​ less, explore and develop outside the box of a set voice type?

Dr. Cotton, in her book ​Classification and Fach​, suggests that timbre and

tessitura are by far two most important parts in determining and characterizing a

singer’s instrument8. However, both tessitura and timbre grow and change drastically

throughout a singer’s career, especially for younger singers. Tessitura can vary in size as

the singer develops, and can move up and down the range according to the singer’s

physical developments/conditions. Timbre, on the other hand, is more naturally

distinctive to each unique singer. Nonetheless, Dr. McGinnis made an argument that

timbre, in voice cultivation, can sometimes be aesthetically engineered9. In some ways

or others, Dr. McGinnis’ argument proves to be true in a lot of vocal pedagogues’

teachings. Often voice teachers give misleading instructions: “sing lighter”, “more

vibrato”, “louder”, “have more warmth in your tone”. Common demands as such may be

6
​Richard Boldrey, ​Guide to Operatic Roles & Arias ​(Dallas: Pst...Inc, 1994). Preface.
7
​Ibid.
8
​Sandra Cotton, ​Voice Classification and Fach: Recent, historical, and conflicting systems of voice categorization​ (Greensboro,
DMA diss., University of North Carolina, 2007). 36-37.
9
​Pearl McGinnis, ​The Opera Singer's Career Guide: Understanding the European Fach System (​ Lanham, Maryland: Scarecrow
Press Inc, 2010)​, ​69.
understood as and taken for what Dr. McGinnis refers to, “aesthetic engineering”10.

These instructions subconsciously set up an ideal of desired tone/vocal-colour in the

studio, although this has much more to do with technical training than the voices

themselves. In these moments, vocal pedagogues need to reconstruct their language. For

example, instead of demanding the student give a “warmer tone”, the teacher can

suggest “let us think of the sound as coming from a deeper part of your body”.

Dr. Bridget Sweet suggests vocal pedagogues, especially those working with

younger singers, to always address and refer to the progress and technicality of

sound-making in voice-training11. Dr. Sweet reminds vocal pedagogues that timbre and

colour are very defining qualities of a voice, and that young singers tend to be defensive

of their vocal characteristics12. These are important reminders. Much like making

comments on someone’s physical beauty, commenting on singers’ voices can project

subjective opinions that are deconstructive to a singer’s vocal identity and self worth.

approach voice cultivation in a way that avoids commenting on and demanding of a

voice for characteristic qualities.

Dr. Sweet proposes a new focus on music education that is on the students as

growing musicians, not on the accomplishments13. She strongly emphasizes that vocal

pedagogues need to focus on personal development, physical comfort, mental wellbeing,

and spiritual livelihood of the student14. Dr. Sweet is an advocate for encouraging dialect

10
​Pearl McGinnis, ​The Opera Singer's Career Guide: Understanding the European Fach System ​(Lanham, Maryland: Scarecrow
Press Inc, 2010)​, ​69.
11
Bridget Sweet, ​Growing Musicians: Teaching Music in Middle School and Beyond​ (New York, Oxford University Press, 2016), 44.
12
​Ibid, 46.
13
​Bridget Sweet, ​Thinking Outside the Voice Box: Adolescent Voice Change in Music Education​ (New York, Oxford University
Press, 2019), 7.
14
Ibid, 9.
and comprehensive language in the classroom: “you have to realize your portrayal of

certain characters and their experiences may be their only insight to an entire career. A

teacher’s comment on a subject may be a child’s first impression and understanding of

said subject”15. This is important for vocal pedagogues to know because self-discovery

and self-growth play a major part in a young singer’s life. Young singers do not have the

experience in the field to establish a firm identity, nor do they have the years of training

required to securely validate themselves of their accomplishments in this profession.

They believe they are what they are said to be.

When talking about her experience teaching middle school choirs, Dr. Bridget

Sweet finds that students find strong bonds and even refuge within each voice part16.

“When Jimmy gets assigned the tenor part in choir, he immediately finds himself in a

group of buddies that all ‘belong’. These boys approve of each other and share the same

plane somewhere in the choir society”17. Dr. Sweet uses an analogy of having a

hypothetical hand in front of your face: the hand is the set voice part. She suggests that

sometimes the hand is all a student can see (their vocal identity, social circle, and vocal

capability within the assigned voice category), and vocal pedagogues need to pull that

hand out of their face so that they can see further and beyond the label that is given to

them at the current moment18. This is a great analogy to be used in bel canto/operatic

vocal pedagogy, as well. Vocal pedagogues need to know when to ‘pull the hand away’.

15
​Bridget Sweet, ​Growing Musicians: Teaching Music in Middle School and Beyond​ (New York, Oxford University Press, 2016), 72.
16
​Ibid, 43.
17
I​ bid.
18
I​ bid.
 In conclusion, ​fach​ is not be-all-end-all. Dr. McGinnis concludes this discourse

saying that vocal pedagogues and all singers need to utilize ​Fach ​system, starting from

understanding it correctly in the context in which it's applied19. She also warns that

many of the potential benefits can also be hindrances when one misunderstands f​ach20.

Section II: ​Fach​ in young female high voice training

All singers want to feel validated by their instructors, they all want their voices to

be appreciated, they want to feel belonged. But most importantly, whether they realize it

or not; they want to, and they need to, feel comfortable and confident with their voices

themselves. Dr. Bridget Sweet says in her book ​Thinking Outside the Voice Box:

Adolescent Voice Change in Music Education​, “I ensure ​everybody​ is ​somebody​ in my

class”21. Vocal pedagogues need to provide their students unconditional support and

appreciation. Expanding on what Dr. Sweet has stated in her book, vocal pedagogues

need to attend to all qualities of the voice. Especially in young female high voices, almost

every girl has that vocal agility, vibrancy, and youthfulness in their sound. Too often,

when a young singer subscribes to a specific ​fach, t​ he focus of voice cultivation shifts to

developing mainly or only within said ​fach.​ Vocal pedagogues need to cultivate all that

the voice can do, help the student achieve all their potentials, and let the voice be all that

it can be. Spinto and dramatic sopranos need to train to be able to do flourish runs, and

coloratura sopranos need to be able to sustain in big pieces by Puccini, as well. Not only

19
​Pearl McGinnis, ​The Opera Singer's Career Guide: Understanding the European Fach System (​ Lanham, Maryland: Scarecrow
Press Inc, 2010)​, ​128.
20
​Ibid, 129.
21
Bridget Sweet, ​Thinking Outside the Voice Box: Adolescent Voice Change in Music Education​ (New York, Oxford University Press,
2019), 58.
 ​ ll-​fach e​ xpand the singer’s exposure to a great variety of techniques
would cross-​fach/a

and repertoire, it familiarizes the singer with different types of characters.

The soprano voice part holds a great divide among a number of different ​fach

voice types. In McGinnis’ ​The Opera Singer’s Career Guide: Understanding the

European Fach System​, she goes into details of each soprano voice type in the ​fach

system. She describes soprano ​fächer with two main components: size (light or full),

and repertoire/character (lyrical or dramatic). Dr. McGinnis rates all soprano f​ ächer on

a scale from the lightest in vocal size and weight, to the heaviest: soubrette, light lyric

coloratura, light lyric, full lyric coloratura, full lyric, light dramatic coloratura soprano,

spinto soprano, full dramatic coloratura soprano, and full dramatic soprano22. Dr.

McGinnis gives helpful, generic descriptions for the characteristics of each voice type,

which provides quick reference for vocal pedagogues to assist their students in

repertoire research.

Richard Boldrey gives more in-depth descriptions of soprano ​fächer, and

provides each voice type with approximate range, description of character, along with a

list of notable roles and repertoire. Boldrey explains that soubrette is usually the

secondary character, oftentimes a sister or a friend to the main dramatic female23.

Boldrey associates light lyric sopranos with a lighter but agile tone, and a demure

portrayal of character with emphasis on innocence24. When talking about full lyric

soprano and spinto sopranos, Boldrey describes them as warm and with a beautiful

22
​Pearl McGinnis, ​The Opera Singer's Career Guide: Understanding the European Fach System (​ Lanham, Maryland: Scarecrow
Press Inc, 2010)​, 1​01.
23
​Richard Boldrey, ​Guide to Operatic Roles & Arias ​(Dallas: Pst...Inc, 1994). 63.
24
​Richard Boldrey, ​Guide to Operatic Roles & Arias (​ Dallas: Pst...Inc, 1994). 68-70.
timbre25. Boldrey does not give a lot of information on the performance practices and

character analysis for coloratura or dramatic sopranos. However, he does mention that a

florid nature is primal in coloratura sopranos; and that size, weight, and resonance are

initial qualities of dramatic sopranos26. The list of cross-​fach​ roles and repertoire, as

part of the outcomes of this research, references Boldrey's ​Guide to Operatic Roles &

Arias.

25
​Ibid, 71-72.
26
I​bid, 75-76.
 Conclusion

To ​fach​ or not to ​fach,​ that is the question. Voice categorization of any kind,

especially ​fach​ in particular, is very personal and intimate. A singer’s voice type plays an

immensely important part in their life. It is directly associated with the singer’s identity,

social perception and sense of worth. While there are many benefits of referencing ​fach

in vocal pedagogy, the rigid system and misunderstandings of ​fach​ can set both students

and pedagogues up for unnecessary confusion and restrict the voice from developing

all-roundedly. Vocal pedagogues need to realize that ​fach​ not only prescribes the voice

certain expectations of vocal characteristics and repertoire, it also associates the singers

with rigid types of characters. A new, comprehensive, and considerate way of vocal

pedagogy is needed to cultivate voices authentically without stripping the voice of any

potentials or qualities outside of the prescribed box of ​fach.​

 List of Examples of Cross-​fach​ Roles and Repertoire

A sense of fluidity is needed in teachings in ​fach​. This list presents examples of

operatic roles and repertoire that are fluid/interchangeable within the soprano f​ ächer.
This is created with the intention of providing singers and instructors a more ​fach​-fluid
view of these roles that are otherwise constricted within their ​fach​ prescription. It is
important to remember that this list is subjective, created and presented for examples’
sake​.​ This list is divided by different vocal tones and training purposes.

Section I: lighter, brighter voices - cultivating tone consistency throughout the range,
warmth and support in the middle to lower register

- Bastienne, from Mozart’s ​Bastien und Bastienne​.

- Range: C4 - A5.
- This character is generally played by soubrette sopranos, but can also be
played by light lyric sopranos. Her Arias do require the singer to have a
mature level of breath support, and a well developed lower-middle range.
- This is a young, childish, character who wears her heart on her sleeve.
- Arias: ​Mein liebster Freund; ich geh' jetzt auf die Weide; Wenn mein
Bastien einst im Scherze.
- These arias are excellent choices of repertoire to develop the middle
range of the voice. For singers training to have more ​legato​ line and
consistent breath support, these arias help cultivate those skills.
- Servillia, from Mozart’s ​La Clemenza di Tito.​
- Range: D4 - B5.
- Another soubrette character. Any light sopranos should find Servillia easy
to play/sing: comfortable range, manageable phrasing, relatable libretto.
Although Servillia’s character is older in age than Bastienne’s, she does not
sing about matters that are deeply personal or related directly to her
character’s desires or state of being. Though her duet with Annio, ​Ah!
Perdona al primo affetto,​ is one of the most beautiful, emotionally deep,
and sensuous pieces from the opera. This beautiful duet would make a
splendid number in a studio recital. Both parts share an equal amount of
singing and melody, and both characters are equally emotionally invested
in each other. The two singers would further develop both vocal
techniques (blending and harmonies) and acting.
- Servilia is one of the characters that do not have any vices, conflicts with
other characters, or urgent desires. She is a standard “goody-goody”, the
“girl-next-door”, some may say. Unlike Vitelia, the antagonist in the same
opera, who has a lot of angst and desires. This is what is so challenging
 about Servilia’s character: she is a secure, confident girl who holds
steadfast to her moral values, and she does not plan to strike against
anybody. This is difficult to act. In acting, more is easier to act than less.
The singer taking on Servilia’s role needs to have a full understanding of
the entire opera: she needs to know the plot like the back of her hand, and
have a firm understanding of all the other characters, especially Annio her
lover and Sesto her brother. It requires the singer of a certain level of
maturity, calmness, and a subtle way of expression/acting.
- Aria: ​S'altro che lagrime​; Duetto: ​Ah! Perdona al primo affetto​.
- Cherubino from Mozart’s ​Le Nozze di Figaro
- Range: C4 - G5.
- While Cherubino is one of those mezzo roles most sopranos may find
manageable, some soubrettes and/or some younger sopranos may find it
hard sustaining those legato phrases in the middle-to-lower register. This
is why Cherubino’s repertoire presents such good opportunities for
training high/soprano voices. Cherubino has some of the most beautifully
written lines in the opera; lots of phrases that beautifully ascend/descend
from one end of the range to the other. Especially in ​Voi che sapete,​ the
emotional contrasts (when Cherubino describes feelings of affection -
constantly altering between burning passion and freezing torment)
demand the singer of an exceptional range of vocal colours. Not only does
the voice need to do a lot of word-colouring and acting, it also needs a lot
of ‘flow’, lots of agile support to help the voice move gracefully up and
down all over the range.
- Cherubino’s character is not what sopranos encounter daily. Aside from
the fact that he is a boy, his feelings are also oppressed and battling him
from the inside. This is a challenge for a lot of singers: acting out that
sense of confusion, hopelessness, and adolescence naivety.
- Arias: ​Voi che sapete, Non so piu cosa son, cosa faccio.
- Christel from Zeller’s ​Der Vogelhändler​.
- Range: C4 - C6.
- Lyric sopranos, coloratura sopranos and soubrette sopranos should all be
able to sing Christel’s repertoire comfortably. Much like her character, her
arias and other group numbers in the opera appear to be rhythmically
lively and with joyful melodic lines. Some challenges in Christel’s
repertoire are leaps (especially in the middle/lower register, and the ones
that cross registers), German diction and enunciation (there are a lot of
words), and musical expressions (syllable stress, vocal colouring,
momentum, etc.).
 - Character-wise, Christel’s character would likely feel quite familiar to a lot
of soubrettes’. Christel is a strong female. As the post mistress, she is
confident, down-to-earth, determined, strong-willed, and has a way with
her man. She has a bubbly personality and she is willing to always use that
to her best advantage. The challenge of acting is to make it seem genuine
and original. Christel is a practical person, she wears her heart on her
sleeve, but she does not go over-the-top. The singer has to know the exact
word-to-word translation, and she would also need to have an original
subtext for each and every phrase she sings. This is an excellent exercise
for thorough character and repertoire study.
- Aria: ​Ich bin die Christel von der Post;​ Duet and trios: ​Schau mir
nur recht ins Gesicht; Bescheiden mit verschämten Wangen;
Kämpfe nie mit Frau'n.

Section II: fuller, darker voices - training for maneuverability in the voice, cultivating
vibrancy and the “sparkle” in the tone.

- Sesto from Mozart’s La Clemenza di Tito

- Range: C4 - Bb5
- Although generally played by mezzo sopranos, Sesto’s repertoire sits more
comfortably in a soprano tessitura. This is an excellent example of operatic
roles assigned to a specific ​fach/fächer based more heavily on the
character’s physical appearance and desires, rather than vocal
range/capabilities.
- Lyric sopranos, especially ‘full lyric sopranos’ (going by Boldrey’s voice
categorization) would find good pieces to showcase the voice in Sesto’s
repertoire. Sesto’s repertoire consists of both lyrical elements and florid
coloratura runs, as well. Vocal ‘anchor’, so to speak (the most secure,
most-soaring part) for Sesto sits somewhere between C5 to F5. This is the
area where most sopranos find the most warmth and ‘sparkle’ in their
voice. Finding lots of agility and ‘sparkle’ in this middle part/register is
great gateway training for getting those florid runs, as well.
- Sesto’s character has got a lot of depth and layers. Although many consider
him as the puppet-doll of Vitelia’s, he is not stupid. He knows full well that
his love and affection are being exploited. He battles with his moral values,
he knows that Vitellia is evil, but he lets her get away with all of it. He
would rather die a man that has become everything he hates, than to die a
man Vitelia despises. This is where the challenge comes from: acting for
 Sesto needs to be multidimensional. Sesto is not just a hopeless romantic,
a lost cost, a fool willing to die for love. He is a beautiful soul, a loyal man
who believed in justice, love, and clemency. The singer needs to channel all
those moral values and find a deeper connection to the text than just
literal translation. This requires the singer to do deep, and a great deal of
repertoire study.
- Arias: ​Parto, parto ma tu ben mio; Deh, per questo istante.
- Vitellia from Mozart’s La Clemenza di Tito
- Range: G3-B5.
- From the same opera as Sesto, Vitellia is typically labeled as a dramatic
coloratura soprano. This role demands a great range. The lowest pitches
(B3, Bb3, A3, G3) sit in the chest voice for most singers, consolidating
these low pitches (for some sopranos, these pitches could be the lowest
pitches the instrument is mechanically capable to make) helps ‘ground’ the
voice for the higher registers. The great challenge is to have the same solid
breath support in the tone for both the low and high registers.
- Vitellia’s character is dark and intense. She is one of the very few female
villains in the classical opera world. She is spiteful, manipulative, and
reckless. This is great practice for lots of sopranos - Vitelia’s desires are
drastically different from the majority of soprano roles’. Vitelia is not
driven by love, which seems to be a common theme for a lot of prima
donna roles. She is driven by hatred, jealousy, her hunger for power, and
her strong will to manipulate and destroy. Young singers would face great
challenges playing Vitelia. This is a role that demands a certain level of
maturity of it’s actor.
- Arias: ​Deh se piacer mi vuoi; Non piu di fiori​.
- Despina from Mozart’s ​Cosi fan tutte
- Range: C4-C6.
- Despina is one of the most loved soubrette roles by Mozart. Her role is
everything but what spinto and dramatic (and/or other fuller-bodied
sopranos) sopranos are used to. She does not fall devastatingly in love,
neither does she have to deal with life-changing tragedy.She is quirky,
smart, sassy, and youthful. But her character does wear an air of
confidence. She is wise beyond her age (at least she believes that herself),
and she is not afraid to be the voice/leader in a group. This is a lively,
bubbly role to play.
- Despina’s repertoire offers good practices to train maneuverability and
agility of the voice with manageable phrases and melodies. Her repertoire
does not have crazy, challenging coloratura runs. But it does require the
 voice to be mobile, supple, and free. This is great exercise for fuller-bodied
sopranos because it is on the lighter side, which allows plenty of room for
cultivating pitch precision, supple voice colouring, and other perfermance
techniques (expressions, diction, syllable-colouring, etc.).
- Arias: ​Una donna quindici anni; In uomini, in soldati.
 Bibliography

Boldrey, Richard. ​Guide to Operatic Roles & Arias​. Dallas: Pst...Inc., 1994.

Cotton, Sandra. ​Voice Classification and Fach: Recent, historical, and conflicting

systems of voice categorization.​ DMA diss., University of North Carolina, Greensboro,

2007.

McGinnis, Pearl Yeadon. ​The Opera Singer’s Career Guide: Understanding the

European Fach System​. Lanham, Maryland. Scarecrow Press Inc., 2010.

Sweet, Bridget. ​Growing Musicians: Teaching Music in Middle School and Beyond​.

New York, Oxford University Press, 2016.

Sweet, Bridget. ​Thinking Outside the Voice Box: Adolescent Voice Change in Music

Education​. New York, Oxford University Press, 2019.