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Singers that are classically trained will get naturally categorized into different voice types because of where their voice sits on a frequency and pitch level, as well as how their vocal range is laid out. There are seven main voice type classifications and many more ways to separate them into sub-categories called fachs.
The Voice Types:
Soprano - this is the highest female voice type. It generally takes the melody when there are two voices singing together and it is the most popular voice type of a leading lady in many operas. Its range is approximately from a middle ‘C’ (C4) to the ‘D’ two octaves above (D6), although there are singers who can sing below and above that range. A lot of coloratura soprano repertoire asks for a much higher range, going as high as G6.
Mezzo-Soprano - the translation of ‘mezzo’ is middle, which means that this voice type is just slightly lower than the soprano and slightly higher than the alto. Mezzo-sopranos have a range that is from approximately a G3 to an A5, or higher. Much of the mezzo-soprano repertoire demands a higher range, up to a C6. Mezzo-sopranos are often asked to play supporting characters and “trouser” roles, in which she will play a male character. There are a few operas such as Carmen and Cendrillon that feature the mezzo-soprano as the title character.
Contralto - this is the lowest of the female voice types. Contraltos are also the rarest voice type for women. The voice typically ranges from an E3 to an F5. There are not many roles written for a contralto voice and those that are will usually be taken by a mezzo-soprano.
Countertenor - The male voice that can match that of the female voice types. Countertenors use falsetto pitches (really high notes) to create a clear tone. Their range is typically between a G3 and an F5 which usually matches that of a contralto or mezzo, although some are regarded as sopranos. This is a complicated voice type because their voices are rarer and haven't been studied to the extent that the others have. Countertenors are usually cast in roles for Baroque Operas to play parts that were originally sung by the castrati*. Some directors will choose to cast them to sing in “trouser” roles usually sung by mezzo-sopranos. Many countertenors can start out as baritones who discover the ease of singing in their upper ‘falsetto’ register.
Tenor - This voice type is considered to be the highest male voice within the constraints of no falsetto tones. Their range is usually from a C3 to a C5, although the C5 is a great accomplishment for any tenor. They are usually given leading roles in many operas.
Baritone - The baritone voice is the male voice equivalent to the mezzo-soprano. It is the middle voice between tenor and bass. The range is approximately from a G2 to an E4. Baritones share the stage with tenor and often get lead roles. They are known to play comedic characters or villains. A great example of a baritone lead in an opera is Don Giovanni.
Bass - This is the lowest male voice and the lowest human voice in general, although the lowest basses are known as basso profundo or contrabass. Their range is typically from an E2 to an E4, even though there are many who can sing lower and higher than that. Basses are known to play comic relief and side characters as well as dark villains in many operas.
There are also some intermediary voices that sit between two voice types. There are high-mezzos and Zwischen sopranos between the mezzo-soprano and soprano. A high mezzo is pretty self-explanatory, but a Zwischen is a voice that sits right between being a mezzo and a soprano. They can usually sing repertoire that is sung by both voice types. The bass-baritone is a singer, who, like the name suggests, is a deeper baritone or a higher bass who’s voice sits right between baritone and bass.
*Castrati are a type of male voice that no longer exists due to the inhumane rituals and treatment towards them. Throughout the Baroque Period (1600-1750), their voices were coveted by audiences and composers because of their lyrical tone and beauty that would be more sought out than the soprano voice. Castrati were singers who, as their name suggests, were castrated at youth so that their voices would not undergo the voice changes that young boys usually experience in puberty. A lot of these boys did not end up becoming singers and were laughed at and used as something less than human.*
The Fachs:
The vocal fach is determined by a number of things including tessitura (comfortable vocal range), complete vocal range (lowest and highest notes), timbre (color and tone of the voice), and vocal weight (how they sound over other singers and instruments). Each singer’s fach is subject to change and some may not even fit into a specific category. It is important to note that vocal classification is NOT a science, but rather a way to know what type of repertoire to sing healthily.
Lyric - This is a lighter voice type, which means that it sounds smoother than others. It has the ability to move faster across pitches while maintaining a warm and bright tone. Many regard lyric voices as “sexy” because of its rich and mellow timbre. It applies to all voice types and is one of the most common fachs for any singer.
Coloratura - These voices are more common in the higher ranges - soprano, mezzo, contralto, countertenor, and tenor, although there are some baritones and basses that have coloratura as well. Coloratura singers are able to move at quick speeds through passages with great agility. They are skilled with ornaments, trills, and singing notes that are far out of their comfortable voice range. They usually have very light voices but still, sustain a rounded and warm tone.
Dramatic - The dramatic voice type is one that holds great power and can sing over large orchestral and choral compositions. Their voices are full-bodied, strong, and as the name suggested, dramatic. Singers with dramatic voices are more comfortable singing near the middle of their range and expressing passages that are less agile than those of the coloratura.
Spinto - This voice type is between being lyrical and dramatic. They have the warm timber of the lyric voice with the power of dramatic voices. Their voices are not quite as bright as lyric voices, but they can still control dynamics and have similar agility. The spinto fach is generally paired with a soprano or tenor voice, but there can be some mezzo-sopranos that are considered to be spinto as well.
Soubrette - The soubrette is a very light soprano. Singers with this vocal fach are usually picked to play roles that are cheeky and bright (like their voices). They sing best in their middle range even though they have a brilliant extension to the upper parts of their voices.
Light and Full - This is applicable across all voice types and acts as an addition to lyric or dramatic voices. In most cases, you would see something like “light lyric soprano”, “full lyric soprano”, and “full dramatic soprano”. Soprano can be interchangeable for any other of the main voice types. Light voices are more generally taken for younger roles because of their youthful character, while full voices are used for more serious and dramatic roles. This classification can and will most likely change as the voice develops and matures, so it is not a permanent identifying factor of a singer.
Fachs can be somewhat controversial. Some singers swear by being categorized into a fach so that they know what type of repertoire to sing and what roles to audition for; however, some really don’t think that fachs matter. Many experts even say that singers should just sing what feels good to sing in their own body and voice. Either way, as boxing as these classifications are, vocal fachs can not really be determined until your voice has fully developed, which usually happens in your 20’s and changes as you get older and your voice matures. Voice classification changes can be a confusing and stressful time.
So, here are a few quick vocal exercises you can do right now without thinking. Happy Singing!