A mezzo-soprano or mezzo (; ; meaning "half soprano") is a type of classical female

singing Singing is the act of creating musical sounds with the voice. A person who sings is called a singer, artist or vocalist (in jazz and/or popular music). Singers perform music (arias, recitatives, songs, etc.) that can be sung with or without ...

voice The human voice consists of sound made by a human being using the vocal tract, including talking, singing, laughing, crying, screaming, shouting, humming or yelling. The human voice frequency is specifically a part of human sound production in ...

whose

vocal range Vocal range is the range of pitches that a human voice can phonate. A common application is within the context of singing, where it is used as a defining characteristic for classifying singing voices into voice types. It is also a topic of stud ...

lies between the

soprano A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880&n ...

and the

contralto A contralto () is a type of classical female singing voice whose vocal range is the lowest female voice type. The contralto's vocal range is fairly rare; similar to the mezzo-soprano, and almost identical to that of a countertenor, typically b ...

voice type A voice type is a group of voices with similar vocal ranges, capable of singing in a similar tessitura, and with similar vocal transition points ('' passaggi''). Voice classification is most strongly associated with European classical music, t ...

s. The mezzo-soprano's vocal range usually extends from the A below

middle C C or Do is the first note and semitone of the C major scale, the third note of the A minor scale (the relative minor of C major), and the fourth note (G, A, B, C) of the Guidonian hand, commonly pitched around 261.63 Hz. The actual frequen ...

to the A two

octaves In music, an octave ( la, octavus: eighth) or perfect octave (sometimes called the diapason) is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been refer ...

above (i.e. A₃–A₅ in

scientific pitch notation Scientific pitch notation (SPN), also known as American standard pitch notation (ASPN) and international pitch notation (IPN), is a method of specifying musical Pitch (music), pitch by combining a musical Note (music), note name (with accidental ...

, where middle C = C₄; 220–880 Hz). In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C (F₃, 175 Hz) and as high as "high C" (C₆, 1047 Hz). The mezzo-soprano voice type is generally divided into the

coloratura Coloratura is an elaborate melody with runs, trills, wide leaps, or similar virtuoso-like material,''Oxford American Dictionaries''.Apel (1969), p. 184. or a passage of such music. Operatic roles in which such music plays a prominent part, an ...

, lyric, and dramatic mezzo-soprano.

History

While mezzo-sopranos typically sing secondary roles in operas, notable exceptions include the title role in

Bizet Georges Bizet (; 25 October 18383 June 1875) was a French composer of the Romantic era. Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, ''Carmen'', which has become on ...

's ''

Carmen ''Carmen'' () is an opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on the Carmen (novella), novella of the same title by Prosper Mérimée. The opera was first perfo ...

'', Angelina ( Cinderella) in

Rossini Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards f ...

's '' La Cenerentola'', and Rosina in Rossini's ''

Barber of Seville ''The Barber of Seville, or The Useless Precaution'' ( it, Il barbiere di Siviglia, ossia L'inutile precauzione ) is an ''opera buffa'' in two acts composed by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was base ...

'' (all of which are also sung by sopranos and contraltos). Many 19th-century

French-language operas French opera is one of Europe's most important operatic traditions, containing works by composers of the stature of Rameau, Berlioz, Gounod, Bizet, Massenet, Debussy, Ravel, Poulenc and Messiaen. Many foreign-born composers have played a part i ...

give the leading female role to mezzos, including ''

Béatrice et Bénédict ''Béatrice et Bénédict'' (''Beatrice and Benedick'') is an '' opéra comique'' in two acts by French composer Hector Berlioz. Berlioz wrote the French libretto himself, based in general outline on a subplot in Shakespeare's ''Much Ado About N ...

'', '' La damnation de Faust'', '' Don Quichotte'', '' La favorite'', '' Dom Sébastien'', '' Charles VI'', '' Mignon'', '' Samson et Dalila'', ''

Les Troyens ''Les Troyens'' (; in English: ''The Trojans'') is a French grand opera in five acts by Hector Berlioz. The libretto was written by Berlioz himself from Virgil's epic poem the ''Aeneid''; the score was composed between 1856 and 1858. ''Les Tro ...

'', and ''

Werther ''Werther'' is an opera (''drame lyrique'') in four acts by Jules Massenet to a French libretto by Édouard Blau, Paul Milliet and Georges Hartmann (who used the pseudonym Henri Grémont). It is loosely based on Goethe's epistolary novel ''The S ...

'', as well as ''Carmen''. Typical roles for mezzo-sopranos include the stereotypical triad associated with contraltos of "witches, bitches, and britches": witches, nurses, and wise women, such as Azucena in

Verdi Giuseppe Fortunino Francesco Verdi (; 9 or 10 October 1813 – 27 January 1901) was an Italian composer best known for his operas. He was born near Busseto to a provincial family of moderate means, receiving a musical education with the h ...

's '' Il trovatore''; villains and seductresses such as Amneris in Verdi's '' Aida''; and "

breeches role A breeches role (also pants role or trouser role, or Hosenrolle) is one in which an actress appears in male clothing. Breeches, tight-fitting knee-length pants, were the standard male garment at the time these roles were introduced. The theatric ...

s" or "trouser roles" (male characters played by female singers) such as Cherubino in Mozart's '' Le nozze di Figaro''. Mezzo-sopranos are well represented in

baroque music Baroque music ( or ) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transiti ...

early music Early music generally comprises Medieval music (500–1400) and Renaissance music (1400–1600), but can also include Baroque music (1600–1750). Originating in Europe, early music is a broad musical era for the beginning of Western classical m ...

, and

baroque opera Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librett ...

. Some roles designated for lighter

soubrette A soubrette is a type of operatic soprano voice ''fach'', often cast as a female stock character in opera and theatre. The term arrived in English from Provençal via French, and means "conceited" or "coy". Theatre In theatre, a soubrette is a c ...

sopranos are sung by mezzo-sopranos, who often provide a fuller, more dramatic quality. Such roles include Despina in Mozart's ''

Così fan tutte (''All Women Do It, or The School for Lovers''), K. 588, is an opera buffa in two acts by Wolfgang Amadeus Mozart. It was first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was written by Lorenzo Da Ponte w ...

'' and Zerlina in his ''

Don Giovanni ''Don Giovanni'' (; K. 527; Vienna (1788) title: , literally ''The Rake Punished, or Don Giovanni'') is an opera in two acts with music by Wolfgang Amadeus Mozart to an Italian libretto by Lorenzo Da Ponte. Its subject is a centuries-old Spanis ...

''. Mezzos sometimes play dramatic soprano roles such as Santuzza in Mascagni's '' Cavalleria rusticana'', Lady Macbeth in Verdi's ''

Macbeth ''Macbeth'' (, full title ''The Tragedie of Macbeth'') is a tragedy by William Shakespeare. It is thought to have been first performed in 1606. It dramatises the damaging physical and psychological effects of political ambition on those w ...

'', and Kundry in Wagner's '' Parsifal''.

Vocal range

The

of the mezzo-sopranos lies between the

and the

s. Mezzo-sopranos generally have a heavier, darker tone than sopranos. The mezzo-soprano voice resonates in a higher range than that of a contralto. The terms ''

Dugazon Jean-Henri Gourgaud (15 November 1746 – 19 October 1809) was a French actor under the stage name Dugazon, the son of Pierre-Antoine Gourgaud, the director of military hospitals there and also an actor. He began his career in the provinces, ma ...

'' and '' Galli-Marié'' are sometimes used to refer to light mezzo-sopranos, after the names of famous singers. Usually men singing within the female range are called

countertenor A countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G3 to D5 or E5, although a sopranist (a s ...

s since there is a lighter more breathy tonal (falsetto) quality difference. In current operatic practice, female singers with very low tessituras are often included among mezzo-sopranos, because singers in both ranges are able to cover the other, and true operatic contraltos are very rare.

Subtypes and roles in opera

Within the mezzo-soprano voice type category are three generally recognized subcategories: coloratura mezzo-soprano, lyric mezzo-soprano, and dramatic mezzo-soprano.

Coloratura

A coloratura mezzo-soprano has a warm lower register and an agile high register. The roles they sing often demand not only the use of the lower register but also leaps into the upper tessitura with highly ornamented, rapid passages. They have a range from approximately the G below middle C (G₃, 196 Hz) to the B two octaves above middle C (B₅, 988 Hz). Some coloratura mezzo-sopranos can sing up to high C (C₆, 1047 Hz) or high D (D₆, 1175 Hz), but this is very rare. What distinguishes these voices from being called sopranos is their extension into the lower register and warmer vocal quality. Although coloratura mezzo-sopranos have impressive and at times thrilling high notes, they are most comfortable singing in the middle of their range, rather than the top. Many of the hero roles in the operas of

Handel George Frideric (or Frederick) Handel (; baptised , ; 23 February 1685 – 14 April 1759) was a German-British Baroque composer well known for his operas, oratorios, anthems, concerti grossi, and organ concertos. Handel received his training i ...

and Monteverdi, originally sung by male castrati, can be successfully sung today by coloratura mezzo-sopranos. Rossini demanded similar qualities for his comic heroines, and

Vivaldi Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741) was an Italian composer, virtuoso violinist and impresario of Baroque music. Regarded as one of the greatest Baroque composers, Vivaldi's influence during his lifetime was widespread a ...

wrote roles frequently for this voice as well. Coloratura mezzo-sopranos also often sing lyric-mezzo-soprano roles or soubrette roles. Coloratura mezzo-soprano roles in operas (*''denotes a lead role''):

Lyric

The lyric mezzo-soprano has a range from approximately the G note below middle C (G₃, 196 Hz) to the A two octaves above middle C (A₅, 880 Hz). This voice has a very smooth, sensitive and at times lachrymose quality. Lyric mezzo-sopranos do not have the vocal agility of the coloratura mezzo-soprano or the size of the dramatic mezzo-soprano. The lyric mezzo-soprano is ideal for most

trouser role A breeches role (also pants role or trouser role, or Hosenrolle) is one in which an actress appears in male clothing. Breeches, tight-fitting knee-length pants, were the standard male garment at the time these roles were introduced. The theatric ...

s. Lyric mezzo-soprano roles in operas (*''denotes a lead role''):

Dramatic

A dramatic mezzo-soprano has a strong medium register, a warm high register and a voice that is broader and more powerful than the lyric and coloratura mezzo-sopranos. This voice has less vocal facility than the coloratura mezzo-soprano. The range of the dramatic mezzo-soprano is from approximately the F below middle C (F₃, 175 Hz) to the G two octaves above middle C (G₅, 784 Hz). The dramatic mezzo-soprano can sing over an orchestra and chorus with ease and was often used in the 19th century opera, to portray older women, mothers, witches and evil characters. Verdi wrote many roles for this voice in the Italian repertoire and there are also a few good roles in the French Literature. The majority of these roles, however, are within the German Romantic repertoire of composers like

Wagner Wilhelm Richard Wagner ( ; ; 22 May 181313 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most op ...

and

Richard Strauss Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wag ...

. Like coloratura mezzos, dramatic mezzos are also often cast in lyric mezzo-soprano roles. Dramatic mezzo-soprano roles in operas (*''denotes a lead role''):

Gilbert and Sullivan and operetta

All of

Gilbert and Sullivan Gilbert and Sullivan was a Victorian era, Victorian-era theatrical partnership of the dramatist W. S. Gilbert (1836–1911) and the composer Arthur Sullivan (1842–1900), who jointly created fourteen comic operas between 1871 and 1896, of which ...

's Savoy operas have at least one mezzo-soprano character. Notable

operetta Operetta is a form of theatre and a genre of light opera. It includes spoken dialogue, songs, and dances. It is lighter than opera in terms of its music, orchestral size, length of the work, and at face value, subject matter. Apart from its s ...

roles are: * The Lady Angela, '' Patience'' (Gilbert and Sullivan) * Constance, ''

The Sorcerer ''The Sorcerer'' is a two-act comic opera, with a libretto by W. S. Gilbert and music by Arthur Sullivan. It was the British duo's third operatic collaboration. The plot of ''The Sorcerer'' is based on a Christmas story, ''An Elixir of Lo ...

'' (Gilbert and Sullivan) * Cousin Hebe, ''

H.M.S. Pinafore ''H.M.S. Pinafore; or, The Lass That Loved a Sailor'' is a comic opera in two acts, with music by Arthur Sullivan and a libretto by W. S. Gilbert. It opened at the Opera Comique in London, on 25 May 1878 and ran for 571 performances, which ...

'' (Gilbert and Sullivan) * Edith, '' The Pirates of Penzance'' (Gilbert and Sullivan) * Iolanthe, ''

Iolanthe ''Iolanthe; or, The Peer and the Peri'' () is a comic opera with music by Arthur Sullivan and libretto by W. S. Gilbert, first performed in 1882. It is one of the Savoy operas and is the seventh of fourteen operatic collaborations by Gilbert ...

'' (Gilbert and Sullivan) * Mad Margaret, ''

Ruddigore ''Ruddigore; or, The Witch's Curse'', originally called ''Ruddygore'', is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert. It is one of the Savoy Operas and the tenth of fourteen comic operas written tog ...

'' (Gilbert and Sullivan) * Melissa, '' Princess Ida'' (Gilbert and Sullivan) * Pitti-Sing, ''

The Mikado ''The Mikado; or, The Town of Titipu'' is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert, their ninth of fourteen Gilbert and Sullivan, operatic collaborations. It opened on 14 March 1885, in London, whe ...

'' (Gilbert and Sullivan) * Phoebe Meryll, ''

The Yeomen of the Guard ''The Yeomen of the Guard; or, The Merryman and His Maid'', is a Savoy Opera, with music by Arthur Sullivan and libretto by W. S. Gilbert. It premiered at the Savoy Theatre on 3 October 1888 and ran for 423 performances. This was the eleventh ...

'' (Gilbert and Sullivan) * The Lady Saphir, '' Patience'' (Gilbert and Sullivan) * Tessa, '' The Gondoliers'' (Gilbert and Sullivan)

References

External links

* *
Mezzo-soprano voices with video examples
{{Authority control Voice types Pitch (music) Italian opera terminology