Contralto

Definition and Range

A Contralto is the lowest female voice type in classical music, with a vocal range that typically lies between the F below middle C (F3) to two Fs above middle C (F5). It is characterized by its rich and powerful quality, which can often be described as "chesty" or "husky". The term "contralto" originates from the Italian "contra" (against) and "alto" (high), referring to the voice type's distinctive low range.

Historical Context

The contralto voice has a long and storied history in Western music. In the Baroque era, many of the heroic roles in operas were written for male singers with high voices, known as castrati. However, as the practice of castration fell out of favor, these roles were often taken over by contraltos. In the Romantic era, contraltos were often cast in "trouser roles," playing young men or boys. This tradition continues today in many operas and musicals.

Vocal Characteristics

Contraltos possess a unique vocal timbre that sets them apart from other female voice types. This voice type is often described as having a darker, richer, and more resonant sound than that of a mezzo-soprano or soprano. Contraltos also typically have a strong lower register, or "chest voice," and the ability to project their voice over an orchestra without the use of amplification.

Notable Contraltos

There have been many notable contraltos throughout history. Some of the most famous include Marian Anderson, Kathleen Ferrier, and Maureen Forrester. These singers are known for their powerful and emotive performances, as well as their exceptional vocal technique.

Contralto in Choral Music

In choral music, the contralto line is often doubled by the tenors, as the ranges of these two voice types overlap significantly. This can add depth and richness to the choral sound. However, it can also present challenges for the contralto singers, as they must often sing in the lower part of their range for extended periods of time.

Contralto in Opera

In opera, contralto roles are often associated with older, wiser characters. These roles can be demanding, requiring not only a strong and flexible voice, but also a high level of acting ability. Some of the most famous operatic contralto roles include Ulrica in Verdi's Un ballo in maschera, Erda in Wagner's Das Rheingold, and Azucena in Verdi's Il trovatore.

Contralto in Popular Music

While the contralto voice type is less common in popular music, there are still many successful contralto singers in this genre. These artists often use their unique vocal timbre to their advantage, creating a distinctive sound that sets them apart from other singers.

Training and Technique

Like all singers, contraltos must undergo rigorous vocal training to develop their voices. This training typically involves exercises to improve breath control, vocal range, and tone quality. Contraltos must also learn to navigate the passaggio, or "break" in the voice, which occurs between the chest voice and head voice.