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Contralto

The contralto is the lowest type of female singing voice in the classical music tradition, distinguished by its deep, rich timbre and typically spanning a vocal range from F₃ to F₅.^[1] This voice type is exceedingly rare among women, often rivaling the depth of certain male voices while maintaining a dark, husky quality that emphasizes strong chest tones in the lower register.^[2] Contraltos are characterized by their powerful low notes extending down to F₃, with a tessitura that sits comfortably below the mezzo-soprano but above the tenor range. The timbre is often described as bronze-like, smoky, or chocolatey, providing a dramatic weight suitable for expressive, grounded performances.^[2] While primarily associated with classical and operatic repertoires, contraltos have also thrived in genres like jazz, blues, and popular music, where their unique depth adds emotional intensity.^[2] Historically, the contralto voice gained prominence in the 19th century following the decline of the castrato tradition in opera, filling roles originally written for high male voices with a more natural female depth.^[3] The term derives from Italian, combining contra (counter to) and alto (high), reflecting its position as a counterpoint to higher voices in polyphonic music.^[4] By the mid-19th century, as orchestras grew larger, the distinction between contralto and mezzo-soprano began to blur, with many roles reassigned to versatile mezzos capable of handling the required power and projection.^[5] In opera, contraltos are frequently cast in character roles such as earth goddesses, witches, nuns, military figures, or comedic servants—often summarized by the colloquial phrase "britches, witches, and bitches" due to their portrayal of trousers-wearing men, villainous women, or earthy protagonists.^[1]^[2] Notable contraltos include Marian Anderson, renowned for her spirituals and operatic arias; Kathleen Ferrier, a key figure in English song and oratorio; and modern examples like Nathalie Stutzmann, who has excelled in Baroque repertoire while also conducting.^[2]^[1] The rarity of true contraltos continues to influence casting, often leading to adaptations that highlight their distinctive sonic footprint in both historical and contemporary works.^[1]

Vocal Characteristics

Range and Tessitura

The contralto voice possesses the lowest standard vocal range among female voice types, typically spanning from F3, the second F below middle C, to F5, the second F above middle C, in scientific pitch notation.^[6] Individual contraltos may extend this range based on physiology and training. The tessitura of the contralto, which refers to the range of pitches in which the voice is most comfortable and resonant, primarily lies in the lower middle register, with a particular emphasis on the dominance of the lower register compared to higher female voices like soprano or mezzo-soprano.^[7] This comfortable span allows sustained projection and tonal richness without excessive strain, distinguishing it from the narrower or higher-focused tessituras of other classifications.^[8] In comparison to other female voices, the contralto's lowest notes, often reaching F3 or below, are notably lower than those of the mezzo-soprano, which typically begin around A3, and the soprano, starting at approximately C4.^[7] This extension into the lower octave provides a deeper foundational timbre unique to the contralto.^[4] Scientific pitch notation, standardized by the International Organization for Standardization (ISO), designates middle C as C4, with octaves numbered ascending from C0; this system clarifies contralto parameters by precisely locating pitches relative to the piano keyboard, where F3 corresponds to the F in the octave below middle C and F5 to the F in the octave above.^[7] Physiologically, the contralto's low extension arises from longer and thicker vocal folds, which vibrate at lower fundamental frequencies when relaxed, enabling production of deep pitches with minimal tension compared to the shorter, thinner folds typical of higher voices.^[9] This anatomical structure supports efficient airflow and vibration in the chest register without strain, forming the basis for the voice's characteristic depth.^[10]

Timbre and Technique

The contralto voice is distinguished by its rich, dark timbre, often characterized as velvety or smoky, with a dominance of chest voice that imparts an earthy warmth contrasting the brighter tones of mezzo-sopranos or sopranos.^[11]^[2] This tonal quality arises from the voice's emphasis on lower overtones, creating a husky, bronze-like resonance that suits dramatic or introspective expressions.^[2]^[12] In vocal production, contraltos manage register breaks through careful transitions between the chest, middle, and head registers, focusing on seamless bridging in the lower passaggio to maintain evenness.^[13] The chest register, extending typically from around D3 to F4, provides the foundational power, while shifts to the middle register (F4 to A♭5) require balanced adduction to avoid abrupt changes in quality.^[13] Techniques such as thin-edge function exercises, involving light staccato scales, help smooth these transitions by promoting laryngeal stability and reducing muscular tension.^[13] Specialized techniques for contraltos emphasize robust breath support to sustain low notes, achieved through diaphragmatic control and exercises like prolonged hissing on a steady stream to regulate pressure without over-blowing the folds.^[13] Avoidance of laryngeal tension is crucial, often addressed by maintaining an open pharynx and precise tongue positioning during vowel formation in the lower passaggio to enhance resonance.^[13] These methods ensure projection while preserving the voice's natural depth. Contraltos face challenges such as vocal fatigue from prolonged use of the heavy lower register, which demands adaptations like controlled belt techniques for amplified projection in larger venues.^[11] Limited flexibility in higher extensions can also strain the voice if not trained progressively, risking issues like inconsistent timbre from improper breath management.^[13]^[11] Acoustically, the contralto's low notes feature fundamental frequencies around 100-200 Hz, with harmonic overtones emphasizing lower partials that contribute to the perceived warmth and richness of the timbre.^[12] This spectral profile, dominated by stronger lower harmonics relative to higher ones, differentiates it from lighter voices and supports its evocative, grounded sound.^[12]

Historical Development

Origins in Early Music

The contralto voice type has roots in the late Renaissance period, particularly in Italy, where professional female singers emerged in court ensembles. A key example is the concerto delle donne, an ensemble of virtuoso female vocalists active in Ferrara during the late 16th century under the Este court. This group, including singers like Laura Peverara and Tarquinia Molza, performed complex polyphonic madrigals by composers such as Luzzasco Luzzaschi, showcasing a range of female voices from soprano to lower alto registers that prefigured the contralto. These women contributed to both sacred music in convents and secular court entertainments, blending vocal agility with dramatic expression. Their performances influenced the development of early opera precursors, such as the intermedii—musical interludes in spoken plays—that incorporated female voices for emotional depth and narrative contrast, laying groundwork for the specialized low female roles in Baroque opera.^[14]

Evolution in Opera and Beyond

In the Baroque era, composers such as George Frideric Handel incorporated contralto-like roles for female singers to provide dramatic depth and emotional contrast in operas, marking a gradual transition from the alto parts originally sung by castrati or male falsettists to specialized low female voices as the practice of castration began to wane in the late 18th century.^[15] Similarly, Christoph Willibald Gluck utilized the contralto register in his operas to evoke authority and pathos, further establishing the voice type's role in enhancing narrative intensity during the shift to the Classical period.^[16] The 19th-century Romantic era saw Giuseppe Verdi and Richard Wagner employing contraltos to portray authoritative, often mythic or commanding female characters, leveraging the voice's rich, resonant timbre to convey power amid increasingly complex orchestration.^[5] However, as soprano voices gained prominence for their ability to project over larger ensembles and the rise of bel canto favored brighter, higher timbres, contralto-specific roles began to decline, with composers adapting many low parts for mezzos or sopranos.^[5] This shift reflected broader market preferences for versatile, upwardly agile voices in the burgeoning opera houses of Europe.^[17] In the 20th century, the contralto experienced a partial revival within verismo opera, as exemplified by Giacomo Puccini's inclusion of low-voiced characters to underscore gritty realism and emotional rawness, though opportunities remained limited compared to earlier periods.^[18] Modern compositions sporadically featured the voice type for its dramatic weight, but overall scarcity persisted due to evolving vocal demands. Recording technology played a crucial role in preserving contralto performances, capturing the nuances of historical singers on wax cylinders and early discs, which allowed later generations to study and revive the timbre despite fewer live exponents.^[19] Beyond opera, the contralto found significant application in oratorios, such as the alto solos in Handel's Messiah, where its depth conveyed solemnity and introspection in sacred narratives.^[20] In the realm of lieder, composers like Gustav Mahler assigned contralto parts in works such as Das Lied von der Erde to explore themes of existential depth and melancholy through the voice's earthy resonance. The 20th century also witnessed crossovers into jazz and folk traditions, with contraltos adapting their robust low registers to spirituals and improvised forms, broadening the voice type's cultural reach.^[21] Today, the contralto is perceived as the rarest female voice type, attributed to physiological factors like vocal fold length and mass, which occur in a small percentage of women, compounded by opera market demands favoring higher, more agile voices for broader repertoire access. Studies of voice classification in professional singers indicate contraltos are among the rarest female voice types, underscoring their scarcity and the challenges in training and casting.^[2]

Classifications and Subtypes

True Contralto

The true contralto represents the purest and most unaltered form of the contralto voice type, characterized by a natural extension into the lowest female register with balanced vocal registers and minimal reliance on training-induced modifications to achieve higher notes. This subtype serves as the foundational benchmark in vocal classification systems, emphasizing inherent depth without the adaptations seen in other variants.^[22] Physiologically, true contraltos typically possess longer and thicker vocal folds compared to higher female voice types, typically measuring 15–18 mm in length, which enable lower fundamental frequencies and sustained resonance in the chest voice up to around E4/F4. These traits, influenced by genetic factors such as vocal fold density and laryngeal structure, allow for a robust lower register while maintaining efficiency across the full range. Environmental factors, including early vocal development, can further shape these characteristics but do not fundamentally alter the underlying physiology.^[23]^[22]^[24] Distinguishing features of the true contralto include an even, homogeneous tone quality throughout the range, with a dark timbre that avoids a "hooty" or strained quality in the upper register, as described in classification systems like those outlined by Richard Miller. Passaggi typically occur around D4–E4 (primo) and G4–A4 (secondo), facilitating smooth transitions without breaks, and the voice exhibits a strong, often described as "manly" chest voice that dominates the tessitura. Note that 'alto' in choral contexts often encompasses both contralto and lower mezzo-soprano voices, while operatic contralto refers specifically to the deeper subtype.^[22] Training for the true contralto emphasizes preserving the natural depth and balance of registers, focusing on exercises that enhance tessitura efficiency and prevent extension into mezzo-soprano territory through forced high notes, as cautioned by historical pedagogues like Manuel Garcia. This approach prioritizes longevity and vocal health, expanding dynamic control and resonance without compromising the inherent low extension.^[22] True contraltos are among the rarest female voice types, estimated at less than 5% of women's voices, owing to the specific genetic and physiological requirements for such low natural extension. This scarcity is compounded by historical misclassifications, where many are trained as mezzos due to limited repertoire demands.^[22]^[25]^[26]

Dramatic and Coloratura Variants

The dramatic contralto subtype prioritizes vocal power and intensity, featuring a deep, robust timbre that enables projection over large orchestras in demanding operatic contexts.^[27] This voice extends the lower register effectively up to F4, with mixed voice supporting higher demands up to F5, allowing sustained intensity in lower tessituras while maintaining a darker, heavier tone compared to lighter variants.^[22] Its robust quality suits heroic or authoritative expressions, contrasting with the more balanced timbre of the true contralto by emphasizing dramatic penetration.^[28] In contrast, the coloratura contralto represents a rare, agile adaptation of the voice type, characterized by lightness and flexibility that facilitate trills, scales, and ornamentation even in the lower register.^[27] This subtype can extend the range upward to A5 or higher, preserving agility for florid passages atypical of deeper contraltos.^[11] Its technique focuses on rapid execution and high sustaining notes, enabling adaptation to intricate melodic lines in earlier repertoire styles.^[2] Hybrid forms, such as the mezzo-contralto, exhibit overlaps with mezzo-soprano ranges but remain distinct through a primary emphasis on low-register focus and darker timbre.^[29] Vocal pedagogue Manuel Garcia classified the contralto as the lowest female voice, "manly and energetic" in the chest register, differentiating it from the mezzo-soprano by range and mechanical production rather than timbre alone.^[22] These criteria, rooted in 19th-century pedagogy, highlight the contralto's foundational chest voice (typically G3–G4) as the basis for subtype distinctions.^[22] These variants emerged prominently in the 19th century as opera demanded greater versatility, with training techniques enabling voice shifts to expand range and adaptability beyond natural baselines.^[11] The decline of castrati roles facilitated contralto subtypes' rise, particularly in German and Italian traditions, to fill diverse expressive needs.^[30] However, the dramatic contralto's emphasis on volume carries risks of vocal strain from prolonged high tessitura or intense projection, potentially leading to fatigue in the upper registers.^[22] Similarly, the coloratura variant's technical demands on agility can shorten careers due to cumulative tension on the vocal cords, especially if flexibility is not innate.^[11]

Roles and Repertoire

Prominent Opera Roles

Contralto voices have historically been assigned operatic roles that leverage their rich, low register to convey authority, menace, or emotional depth, often portraying characters such as mothers, witches, or villains who drive the plot through dramatic intensity.^[5] These archetypes emphasize the contralto's ability to sustain low notes for gravitas, creating a sense of foreboding or maternal power that contrasts with higher-voiced leads.^[31] Vocal demands typically include extended passages in the lower octave, where the voice's dark timbre enhances the character's prophetic or vengeful nature.^[5] In the Romantic era, Giuseppe Verdi's Il Trovatore features Azucena, a gypsy mother driven by revenge, whose role demands dramatic intensity through explosive low-register outbursts that underscore her tormented psyche.^[31] Similarly, Richard Wagner's Der Ring des Nibelungen cycle includes Erda, the earth goddess who delivers oracular warnings; her scenes in Das Rheingold and Siegfried exploit the contralto's commanding lows to evoke ancient wisdom and inevitability.^[31]^[32] Other notable Verdi roles for contraltos include Ulrica, the fortune-teller in Un ballo in maschera, whose mystical warnings use the voice's depth for ominous power, and Mistress Quickly in Falstaff, a comedic servant whose earthy humor is amplified by robust low notes.^[33] These roles highlight the contralto's suitability for maternal or authoritative figures, using sustained pedal notes to amplify emotional weight.^[5] Baroque opera provides earlier examples, such as the Sorceress in Henry Purcell's Dido and Aeneas, an evil witch whose malevolent schemes are portrayed with sinister, descending lines that suit the contralto's shadowy timbre.^[31] George Frideric Handel's works, originally written for alto castrati, were frequently adapted for female contraltos, including Cornelia in Giulio Cesare as a noble widow embodying stoic resilience, and Bradamante in Alcina as a knightly heroine requiring agile low passages.^[32]^[33] These adaptations underscore the voice's versatility in trouser roles, where the contralto's depth adds authenticity to male disguises.^[33] Twentieth-century composers continued this tradition with eccentric or comedic contralto parts, such as Baba the Turk in Igor Stravinsky's The Rake's Progress, a bearded lady whose flamboyant, quirky persona is brought to life through the voice's robust, characterful lows.^[34] Leonard Bernstein's Candide features the Old Lady, a resilient survivor whose witty, tango-infused aria highlights the contralto's earthy humor and endurance.^[35] These roles often blend villainy with comedy, using the contralto's range to inject vitality into supporting yet pivotal characters.^[32] Due to the scarcity of true contraltos, many roles are transposed upward or adapted for mezzo-sopranos in modern productions, allowing broader casting while preserving the dramatic essence, as seen with Azucena or Erda frequently sung by mezzos to meet high-note requirements.^[5] This practice reflects the voice type's rarity but ensures the repertoire's accessibility without altering core vocal characterizations.^[5]

Concert and Choral Applications

In choral music, the contralto voice serves as a cornerstone of the alto section, offering depth and stability to the harmonic foundation while enabling intricate contrapuntal interplay. In Johann Sebastian Bach's Mass in B Minor, BWV 232, contraltos often perform the alto solos, such as the plaintive "Agnus Dei," where the voice's low register (descending to G3 or lower) conveys profound supplication and blends seamlessly with the continuo accompaniment to support the work's polyphonic texture.^[36] Similarly, in Johannes Brahms' Ein Deutsches Requiem, Op. 45, the contralto contributes to the alto choral lines in movements like "Selig sind die Toten," utilizing sustained low notes (around E3-F3) to anchor the homophonic and fugal structures, enhancing the piece's consolatory resonance within large ensembles.^[11] Contraltos excel in concert solos that highlight their introspective timbre and narrative intimacy, particularly in Lieder and oratorio repertoire. Gustav Mahler's Rückert-Lieder exploits the voice's warm, velvety low register—often notated from F3 upward—for songs like "Ich bin der Welt abhanden gekommen," where the contralto's timbre evokes solitude and transcendence, as seen in performances emphasizing the text's philosophical depth over dramatic projection.^[37] In Felix Mendelssohn's oratorio Elijah, Op. 70, the contralto delivers the arioso "Woe unto them" with descending phrases that underscore vulnerability, providing emotional contrast to the tenor's prophetic lines while integrating with the chorus for dramatic uplift.^[38] Modern extensions of contralto repertoire extend into jazz standards and contemporary art song, broadening the voice's application beyond classical boundaries. Influenced by contraltos like Billie Holiday, whose husky timbre defined standards such as "Fine and Mellow" (ranging from C4 to C5), performers adapt these pieces in concert settings to showcase improvisational blending of low chest voice with orchestral or small ensemble backing.^[39] In contemporary art song, composers create works tailored to the contralto's range, such as 21st-century pieces for contralto and viola by various authors, which explore extended techniques like microtonal glissandi in the low register to evoke modern introspection.^[40] Within ensembles, contraltos employ specific techniques to balance with higher voices, such as careful dynamic shading and resonant placement to avoid overpowering sopranos in quartets or choirs. In large orchestral choral works, they focus on blending via unified vowel formation and breath support, ensuring the low lines integrate without muddying the texture, as exemplified in Vaughan Williams' Serenade to Music, where contralto solos sustain long phrases (e.g., from B3 to F5) amid the full ensemble.^[11] Educationally, contraltos train with pieces like descending scales in low keys (e.g., C major from C3 upward) for choral auditions, building stamina and precision in works like the Brahms Requiem alto parts to prepare for section leadership roles.^[41]

Notable Performers

Historical Contraltos

Marianna Barbieri-Nini, active in the mid-19th century, was a prominent Italian singer who created several key roles in Giuseppe Verdi's operas during the 1850s, including Lady Macbeth in the 1847 premiere of Macbeth at the Teatro della Pergola in Florence and Lucrezia Contarini in I due Foscari at the Teatro Argentina in Rome on 3 November 1844.^[42] Her dramatic interpretations helped establish the vocal demands for intense, low-lying roles in Verdi's early works, though she faced limitations due to gender norms in opera that often confined women to supporting or villainous parts despite their technical prowess.^[43] Barbieri-Nini's career contributed to the recognition of versatile lower female voices in Italian opera, influencing later revivals of these roles by highlighting their emotional depth and range. In the early 20th century, English contralto Dame Clara Butt emerged as a leading oratorio specialist, renowned for her powerful, resonant voice that embodied imperial British identity through performances of works like Handel's Messiah and Elgar's Sea Pictures, which she premiered on 5 October 1899 at the Norwich Festival.^[44] Butt's extensive recordings, beginning around 1902 with the Gramophone Company, preserved contralto interpretations of oratorio repertoire and advanced vocal pedagogy by demonstrating techniques for sustaining low registers in large choral settings.^[45] She navigated gender-based challenges in a male-dominated concert world, where women contraltos were often typecast in pious or maternal roles, yet her international tours and royal patronage elevated the voice type's prestige.^[46] Butt's legacy includes inspiring revivals of English oratorio traditions and pedagogical emphasis on breath control for dramatic low-voice expression. Marian Anderson, the acclaimed African American contralto of the 1930s to 1950s, broke racial barriers with her historic Easter Sunday recital on April 9, 1939, at the Lincoln Memorial in Washington, D.C., after being denied performance at Constitution Hall due to segregation policies enforced by the Daughters of the American Revolution. This event, attended by over 75,000 people and broadcast nationwide, symbolized resistance to racial discrimination and advanced civil rights by showcasing her profound interpretations of spirituals, art songs, and opera arias, including roles like Ulrica in Verdi's Un ballo in maschera during her 1955 Metropolitan Opera debut—the first for a Black singer.^[47] Anderson's recordings, such as her 1930s Victor label sessions of "Ave Maria" and Bach's works, innovated by blending classical pedagogy with African American spiritual traditions, influencing voice teachers to incorporate cultural diversity in training low-voiced singers.^[48] Despite facing compounded gender and racial discrimination that restricted her opera opportunities until late in her career, her advocacy and performances fostered greater recognition of contralto capabilities, paving the way for revivals of underrepresented low-voice roles in diverse repertoires.^[49] These historical figures collectively addressed era-specific obstacles, from gender restrictions limiting contraltos to secondary roles in 19th-century opera to racial segregation excluding Black artists from major venues in the early 20th century, yet their contributions through premieres, recordings, and barrier-breaking performances solidified the contralto's enduring impact on vocal education and repertoire revival.^[50] Their work emphasized the voice type's dramatic versatility, encouraging later generations to explore and restore contralto-centric pieces in both opera and oratorio.^[51]

Contemporary Examples

In the post-World War II era, Kathleen Ferrier's rich, resonant contralto voice influenced generations of singers, bridging historical traditions with modern performance practices through her interpretations of works by Mahler and Elgar.^[31] Her legacy persists in contemporary training, where her recordings serve as benchmarks for tonal depth and emotional expressiveness. More recently, Ewa Podleś, who passed away in 2024, exemplified the coloratura contralto specialist, renowned for her agile technique and dramatic intensity in bel canto repertoire until her final performances.^[52] Living artists like Nathalie Stutzmann, a French contralto turned conductor, and Delphine Galou, a Baroque specialist, continue to showcase the voice type's versatility, with Stutzmann's warm timbre suiting both operatic arias and orchestral direction.^[53]^[54] Contemporary contraltos often pursue diverse career paths, including crossovers into popular genres; for instance, Annie Lennox's husky contralto timbre has shaped alternative rock and film soundtracks, drawing from classical roots in her Eurythmics work.^[31] In opera, they take on roles in new compositions, such as Stutzmann's performances in contemporary Baroque revivals and Galou's contributions to modern stagings of Handel, adapting the voice to evolving dramatic demands. Efforts to expand repertoire include engagements in works by living composers, though true contralto parts remain scarce, leading many to explore mezzo-contralto hybrids in premieres.^[5] The contralto voice type faces modern challenges, including a perceived decline attributed to natural rarity—estimated at less than 5% of female voices—and training biases in conservatories that prioritize higher registers for broader employability.^[5] This scarcity is exacerbated by limited roles in the standard repertoire, as 19th-century orchestral expansions favored brighter timbres over the contralto's darker low register. However, revival efforts are underway, with institutions like Indiana University incorporating specialized contralto pedagogy, emphasizing voice color and historical models to encourage emerging talents.^[5] Notable recordings highlight the voice's enduring appeal, such as Podleś's 1996 album of Rossini arias, which demonstrates her extraordinary range from chest to coloratura heights, earning acclaim for revitalizing contralto bel canto.^[55] Streaming platforms have enhanced accessibility, allowing global audiences to discover these works; classical music streams rose 42% year-over-year by 2020, democratizing exposure to rare voice types like the contralto beyond traditional concert halls.^[56] Looking ahead, contraltos hold potential in diverse genres, including musical theater adaptations where low-voiced roles like those in Wicked or Sweeney Todd accommodate their range, fostering broader cultural integration.^[57] As conservatory programs evolve, this voice type may see renewed relevance in hybrid performances blending opera with contemporary styles.^[5]

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Oct 20, 2012 · Kathleen Ferrier (contralto) sings Agnus Dei from Bach's Mass in B minor. 34K views · 13 years ago ...more ...Missing: arias | Show results with:arias
[36]
Mahler's Contralto Voice | 19th-Century Music - UC Press Journals
Mar 1, 2024 · Its sound is carried on the insistently low tessitura of the voice, which hugs the lower fourth octave far more insistently than the voices in ...
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Mendelssohn: Elijah Oratorio, Op. 70 - Amazon.com
30-day returnsElijah, Oratorio op. 70 de Félix Mendelssohn-Bartholdy / Willard White - Rosalind Plowright, soprano - Linda Finnie, contralo - Arthur Davies, ténor -Jeremy ...
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Billie Holiday 'Lady in Satin' Legacy Playlist - Classic Album Sundays
The artists included in this playlists channel the soul and passion of Billie Holiday's contralto in many different ways.<|control11|><|separator|>
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Contralto Songs - Elizabeth Anker
Dozens of 21st Century art songs have been written for contralto and viola, and the composers are delighted to share them with you!
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Bach Mass in B Minor Vocal Score - Choraline
The most popular vocal score for Bach's Mass in B Minor is shown below. Rehearsal recordings to help learn your voice part (Soprano, Alto, Tenor, Bass) are ...
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[PDF] Introduction - The University of Chicago Press
The soprano Marianna Barbieri-Nini (1820-87) created the roles of Lucrezia in f due Foscari, Lady Macbeth, and Gulnara in Il corsaro. 18. Teresa De Giuli ...
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[PDF] La traviata, Verdi's nineteenth opera, was written expressly for
La traviata, Verdi's nineteenth opera, was written expressly for. Venice's Gran Teatro La Fenice, where it received its premiere on. 6 March 1853. Dissatisfied ...
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(PDF) The English Voice of the Mid Twentieth Century - Academia.edu
... contralto singer Dame Clara Butt (1872-1936). As the 'voice of the British Empire',47 Butt was the previous voice of Britain. With the near demise of the ...
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(PDF) Sir Arthur Sullivan, the 1898 Leeds Musical Festival and beyond
Clara Butt was to have sung the whole contralto part but not having thought it necessary to ascertain what time it began was not there. I saw Ada Crossley ...
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Marian Anderson: Realizing History Through Song | In The Muse
Apr 9, 2013 · On April 9, 1939, American contralto Marian Anderson (1897-1993) stood as a beacon of hope for a country being torn apart by racial strife.
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How Marian Anderson Became an Iconic Symbol for Equality
Aug 14, 2019 · Anderson quietly supported many civil rights causes, and also sang at the 1963 March on Washington—where Martin Luther King, Jr. delivered his ...
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[PDF] Contralto Marian Anderson as Goodwill Ambassador
Apr 26, 2019 · While the issues of segregation had to be navigated ... diligence, and perseverance in the fight against gender and race discrimination.Missing: 20th | Show results with:20th
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Art Music and Nineteenth-Century African-American Feminist ... - jstor
That African Americans were compelled by prohibitive segregation and Jim Crow laws to establish their own institutions to foster their artistic aspirations, and ...Missing: 20th | Show results with:20th
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[PDF] ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND ...
Apr 16, 2009 · With the decline of the castrati, it was the contralto voice that began to fill heroic operatic roles. Contraltos gained notoriety in the works ...
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Obituary: Contralto Ewa Podleś Dies at 71 - OperaWire
Jan 19, 2024 · On Jan. 19, 2024, Contralto Ewa Podleś passed away at the age of 71. Considered one of the great Polish singers of her generation, ...
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Nathalie Stutzmann, conductor and contralto
Nathalie Stutzmann is the Music Director of the Atlanta Symphony Orchestra and the second woman in history to lead a major American orchestra.Biography · 2025 reviews · Schedule · RecordingsMissing: contemporary Delphine Galou
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Vivaldi / Pergolesi / Thomas / Schumann / Bach - Contraltos
This CD gathers baroque, classical and romantic hits performed by some of the most prestigious contemporary contralto voices: Sara Mingardo, Nathalie Stutzmann ...
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ROSSINI: Arias for Contralto - 8.553543 - Naxos Records
With her distinctive, dramatic voice of staggering range, agility and amplitude, Ewa Podleś was widely regarded as the world's foremost contralto.Missing: album | Show results with:album
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REPORT | Streaming Music, The Song Economy And Classical Music
Mar 10, 2020 · Streaming classical music in particular showed a yearly rise of 42 percent, as compared with 33 percent overall. That market tends to be ...Missing: contralto accessibility<|separator|>
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Top 37 musical theatre songs for contralto voice for audition and ...
Top 37 musical theatre songs for contralto voice for audition and karaoke ; 37 Wicked · Popular ; 36 Wicked · For Good ; 35 Wicked · Defying Gravity ; 34 Waitress: The ...Missing: EDM | Show results with:EDM