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The contralto voice has the lowest tessitura of the female voices and is noted for its rich and deep vocal timbre. [2] True operatic contraltos are very rare. [3] The following is a list of contralto singers who have regularly performed unamplified classical or operatic music in concert halls and/or opera houses. [4]
For classical and operatic singers, their voice type determines the roles they will sing and is a primary method of categorization. In classical music, a "pure" contralto is considered the rarest type of female voice. [3] In non-classical music, singers are primarily defined by their genre and their gender, not their vocal range. [4]
The term baritone was developed in relation to classical and operatic voices, where the classification is based not merely on the singer's vocal range but also on the tessitura and timbre of the voice. For classical and operatic singers, their voice type determines the roles they will sing and is a primary method of categorization.
A type of classical female singing voice whose vocal range is the lowest female voice type. Subcategories. This category has the following 2 subcategories, out of 2 ...
Lists of women in music cover different categories of women in music, including composers, conductors, groups, musicians and singers. They are organized by instrument, nationality, style and so on. They are organized by instrument, nationality, style and so on.
Todaro grew up in the opera world. Her mother is Brazilian mezzo-soprano Maria-Helena de Oliveira. Todaro sang as a mezzo-soprano herself. She is married to baritone Louis Otey.
The mezzo-soprano is the middle female voice and the most common of the female singing voices, which tends to dominate in non-classical music, with vocal range that typically lies between the A below "middle C" (C 4) to the A two octaves above (i.e. A 3 –A 5).
Sara Mohr-Pietsch estimates in an article for The Guardian that about 40% of living composers are female, and yet, she laments, only about 17% of names on music publishers lists are female. [24] Research by the Boston Symphony Orchestra suggests a starker discrepancy; in programming for the top 22 US orchestras in 2014–2015, only 1.8% of ...