Voice Classification Question: What are the Major Differences between a Soprano and Mezzo-Soprano?
I’d like to hear answers from those who either sing and or teach professionally. I’m looking for detailed answers. I was branded an alto for numerous years, while a part of school choruses (way back when). I’ve taken private lessons in the past, with different teachers, and right way was branded a soprano. Many years later, I’m picking up lessons again! But I’m confused. Now I understand the voice changes over time and that it matures gradually. One teacher even stated, that the voice doesn’t fully mature until you’re like 40/50. During one period you could be one thing and the next period progress to another, but that’s if you’re constantly developing your voice (well that was my thought). I can’t say that I was developing my voice (formally at least) during the time gap, so why the difference of opinion on my voice? Could this mean I’m a mezzo-soprano? Or could my voice progress to be one? I just wanted to hear some thoughts on the matter.
Answer: Well there’s a lot written on this subject and this space undoubtedly won’t cover it exhaustively. But hopefully a combination of teachers you poll will help you. I’ll try and be as succinct as possible.
Determining voice classification presents an interesting paradox; it is one of the most important decisions teachers and students have to make, yet many teachers and students are too concerned about it. Here are several criteria: 1) range, 2) tessitura, 3) timbre, and 4) transition points.
Range is a practical help of course – but not sufficient for pinpointing where a singer is. If one considers the “ideal-but-not-widest” range of the various voice types, generally a contralto’s will be from F or G below middle C to two octaves above; a mezzo’s will be from A below middle C to two octaves above and a soprano will be from middle C to two octaves above (to “high” C). These are confessedly overly-simplified generalizations. A well developed woman’s voice will be greater than two octaves. Range alone cannot isolate classification, however, if a woman wants to sing “soprano” literature but can’t handle the high notes then there are obviously other things to think about.
Secondly, tessitura can be an effective criterion. “Tessitura” is usually applied to literature itself, meaning the area in the range where the preponderance of notes lie. Applied to the voice this means, the area in your range where you sing with the most ease, comfort and resonance? What segment of your range do you experience ease of stamina? Many mezzos have the high range of a soprano and can ‘zing’ a high C. However, singing a single high note is quite different than lingering in the vocal stratosphere and being comfortable staying up there. I could have chosen the reverse scenario. Tessitura should play an important part in any classification decision.
Timbre or “quality” or “color” offers an experienced voice teacher clues as to where the voice best lies. A common pitfall of young voice teachers is thinking that a lyric voice must be high and a dramatic voice must be low. I’d say that where tessitura seems to be equal throughout the range, timbre may offer positive clues as to which direction a voice is best classified. I’m speaking to the large grouping of “soprano” “mezzo-soprano” and “contralto” – not the minutia of the fach system.
Transition points also offer clues in determining voice classification. Some voice teachers depend almost exclusively on these “breaks” or “lifts” or “passagi.” Here again, my 30+ years of teaching experience suggests that while these are sometimes helpful indicators – as renown pedagogue Richard Miller argues – they are far from foolproof. (That’s a separate discussion.) Let me suggest that you consider the combination of all of these, but don’t fret over whether you are a soprano or a mezzo. Find literature that you can enjoy singing expressively, comfortably.
Also bear in mind that as the woman’s voice ages – 50 to 60 and older, stamina in the upper regions of the range will likely fade and lower notes may become increasingly available and more comfortable.
Best wishes to you.
Tags: mezzo-soprano, passagi, Range, soprano, Tessitura, Timbre, transition points, Voice Classification