Opera In The Know - Florentine Opera

OPERA IN THE KNOW
We are looking forward to seeing you at the opera. If this is your first time seeing a
live opera performed, you may be feeling unsure of what to expect, and you may
have questions about opera as an art form. We have assembled this resource guide to
supplement Online Insights for our guests who are just beginning to make opera a
part of their lives. We hope this will be helpful to you as you prepare for your night
at the opera!
Puccini’s
Madama Butterfly
ONLINE INSIGHTS

Online Insights
TABLE OF CONTENTS
Opera FAQs Page 3-4
A Short History of Opera Page 4-8
A Guide to Operatic Singing Page 9-12
A Guide to Operatic Voice Types Page 13-15
Famous Opera Singers Page 16-18
Opera Myths Exposed Page 19
Opera Truths Revealed Page 20
Tips for Effective Listening Page 21-22
Additional Online Resources Page 22

WHAT IS OPERA?
OPERA FAQS
An opera is simply a play in which people sing. In most operas, all the words are sung, and none
are spoken. There are other types of operas, however, in which there is as much speaking as
singing.
If an opera is just a play, then why do people sing?
The theater has been around for hundreds of years. People were being entertained by plays long
before television and radio were even invented. Music was added to enhance the feelings that were
being portrayed on the stage. Singing is a very special form of music because the instrument (like
our feelings) comes from inside. Our voice is a part of us which expresses how we feel, whether
we sing, talk, shout, laugh, cry, moan, growl, whisper, gasp, hiss, etc. It is the actor’s job to express
such feelings, and singing is such a good way of doing just that. Naturally, singing was used very
early in the history of the theater; however, opera as we know it is only about 400 years old.
Operas powerfully combine drama of the theater with music – vocal and instrumental – to create the
lasting art form that is enjoyed throughout the world today.
WHAT ARE THE ELEMENTS THAT MAKE UP AN OPERA?
A score is the blueprint to an opera. It consists of the words, music, stage directions, and often
performance notes for the entire show. An opera score is often divided into sections. It begins with
the overture, followed by one to five acts (large sections of acting and singing), and one or more
intermissions. Each act may be divided into scenes. The scenes are made up of recitatives, arias,
duets, larger ensembles, and choruses.
WHAT ARE SOME DIFFERENT STYLES OF OPERA?
Bel Canto
This Italian phrase means “beautiful singing.” Bel canto operas grew from a style of singing
emphasizing long phrases, breath control, a light upper register, flexibility in singing both loudly
and softly, and a “sweet” timbre (tone color). Because the voice is considered the most expressive
element of bel canto singing, the words are often secondary. Gaetano Donizetti, Vincenzo Bellini,
and Gioacchino Rossini were prominent bel canto composers. Soprano Renée Fleming and mezzosoprano
Cecilia Bartoli are two contemporary singers who are renowned for their incredible bel
canto technique.
Grand Opéra
This is a style of opera that originated in France and is characterized by its magnificence. It is
performed with elaborate sets and costumes, and many people are needed to make it happen. Grand
opéra always involves royalty, heroism, an elaborate ballet scene, and is often quite long.
Composer Jules Massenet wrote opera in this style.

Opera Seria
This Italian phrase means “serious opera” and refers to the noble, dramatic, and serious qualities of
Italian opera that dominated Europe in the mid-1700s. These stories are often tragic, and typically
involve heroes and kings or ancient myths and gods. Some of Mozart’s operas are in this style.
Opera Buffa
This style of opera, meaning “comic opera,” is the counterpart of opera seria, and is always sung in
Italian. The characters that supply the jokes represent the working class, such as maids, peasants, or
servants. These operas usually end with a happy lesson and with the antagonist defeated. Mozart’s
Le Nozze di Figaro and Don Giovanni and Rossini’s Il Barbiere di Siviglia (The Barber of Seville)
fall under this category of opera.
Singspiel
Singspiel evolved in German speaking countries out of the comic opera tradition. It includes
elements of comic opera (funny lower-class characters), spoken dialogue interjected among the
sung phrases, and often includes an exotic or fanciful theme. Mozart’s Die Zauberflöte (The Magic
Flute) is an example of this style.
Music Drama
This is a style of opera that is created by a single artist who writes both the text and the music – as
opposed to having a composer and a librettist working together – in order to advance the drama.
Composer Richard Wagner (1813-1883) defined this style.
A SHORT HISTORY OF OPERA
Opera is more than just large women singing loudly; it is the complete collaboration of music,
drama, art, and poetry. Opera has been around for more than 400 years and can be broken down
into the following musical periods:
Baroque Period (1600-1725)
In the early seventeenth century, a group of men called the Florentine Camerata began meeting to
discuss music and the arts. They recognized the emotional power of music when combined with
drama and aspired to create a new genre reminiscent of ancient Greek dramas, which achieved a
similar combination. By linking existing musical pieces together with sung recitation, they laid the
groundwork for what we now know as modern opera.
By the 1630s, opera was being performed all over Europe. Many countries, like Germany, were
enjoying Italian operas while other countries, like France, began to experiment with their own
variations of opera. By the eighteenth century, the model of opera seria was firmly established.
The plots usually centered on mythological stories. The chorus was saved for the end of the opera
where it added to the festivities of the inevitable happy ending, and the solo singer became
glorified.

The popularity of the singers was so prominent, in fact, that it was not unusual for them to change
the music of an opera as they pleased. Singers would often insert their favorite arias into a show,
whether it fit into the storyline or not.
The standard aria during this time was composed in a strict A-B-A form called da capo, literally
meaning “from the head.” The first A section is sung in a straightforward manner, exactly as
written; it is followed by a short B section that has a different melody, contrasting tempo, and is
written in a different key. The aria ends with a restatement of the A section (same melody, same
words), but this time the singer adds ornamentations at appropriate places throughout the vocal line.
A famous example of this is “Vadoro pupille” from Julio Cesare by G.F. Handel.
Classical Period (1725-1820)
By the eighteenth century, the rigidity of the opera seria model and da capo form were losing
popularity since they limited the dramatic capabilities of music. Increasingly less emphasis was
placed on the singer, and the spotlight moved toward the drama. The storylines also became more
accessible to the general public. Comic operas, or opera buffa as they were called in Italy, became
very popular throughout Europe.
The most important figure in the Classical Period of opera was Wolfgang Amadeus Mozart.
Mozart wrote many successful operas in both the opera seria and opera buffa styles. His comic
operas were the true hits of the eighteenth century. Mozart was among the first to make a living as
a freelance composer. Previous composers were employed as resident artists in a church or in
someone’s household. This meant that they were obligated to write whatever music their employer
demanded.
Although Mozart still had to rely on wealthy patrons to support his lifestyle, he had more artistic
control of his music than others had and was often able to write operas that commented on whatever
topic he chose. Many of the libretti (the text of an opera usually written by someone other than the
composer) he chose reflected the new ideas that were circulating throughout Europe at that time.
The American and French Revolutions were in full swing by this time. In his opera buffa, Le Nozze
di Figaro, two young servants named Susanna and Figaro outsmart and humiliate their employer,
Count Almaviva. The original play by French dramatist Beaumarchais was banned in France
because of its bold statement regarding social classes. (It was only nine years later when King
Louis XVI lost his head at the hands of the middle class.)
Romantic Period (1820-1900)
In the nineteenth century’s Romantic Period, opera suddenly fell into categories defined by the
nationality of the composer. Every major country in Europe made its own unique contributions to
the art form.

Italian Romantic Opera
Italian operas in the earliest years of the Romantic Period fell under the label of bel canto. The bel
canto composers paved the way for the most prolific Italian opera composer, Giuseppe Verdi.
Verdi broke down the walls between recitative and arias and tried to achieve a continuity that added
to the drama of the piece. In the end of the nineteenth century and the early twentieth century, there
was a strong trend toward realism in opera. This was called verismo. The plot of a verismo opera
generally centered on common people dealing with familiar situations. These operas usually had
true-to-life themes of love and loss, making them more realistic to the audience. An example of a
verismo opera is Puccini’s La Bohème.
German Romantic Opera
German opera during this time can be broken down into two categories: German Romantic Opera
and Richard Wagner’s music dramas. German Romantic Operas were quite similar to Italian opera
but differed in plot material. They drew more upon supernatural and medieval tales (rather than the
verismo topics the Italians chose) and also employed more folk tunes. In the second half of the
nineteenth century Wagner created the concept of Gesammkunstwerk [guh-zahm-koontz-vairk],
which means, “total artwork.” He believed that opera should be a fusion of stagecraft, visual arts,
literature, and music. He did almost everything related to production himself: composed the music,
wrote the libretto, and designed the costumes and scenery. In Wagner’s dramas there were almost
no distinctions between arias and recitative; instead of showcasing the voice, he treated it like any
other instrument. He also increased the size of the orchestra and even developed a new instrument
he called the Wagner Tuba, which had a rich, mellow tone. Only very large voices can be heard
over his expanded orchestra.
French Romantic Opera
French opera was typically visually spectacular, and usually included a ballet somewhere in the
second or third act. In the Romantic Period, three types of French opera were prominent:
- Opera comique – usually comical, used spoken dialogue instead of recitative.
- Grand opéra – popular in the second part of the nineteenth century when composer Giacomo
Meyerbeer came onto the scene. Grand opera was built around grandiose plots and used a large
chorus and elaborate sets.
- Drama lyrique – a combination of opera comique and grand opera.
Modern American Opera (1900-present)
Despite the dominance of Italian, French, and German opera within today’s popular repertoire, not
all opera comes from the other side of the globe. American composers have been writing operas
based on familiar themes for over a century. In the earliest years of American history, English
settlers brought with them the Ballad Opera – a short, comic play with musical numbers
interspersed throughout. These songs were basically original text set to popular tunes. During the
eighteenth century, many traveling companies were performing these ballad operas all over the
United States. Standard European operas by composers like Mozart and Rossini were also gaining
popularity in New Orleans, Philadelphia, and New York. These productions were shortened
versions of the originals, however, and were almost always performed in English.

In 1825 the first opera performed entirely in its original language was produce at the Park Theater
in New York. Over the next 50 years, many traveling companies took opera all over the country,
and in 1883 the Metropolitan Opera Company opened its doors. Today, The Met is recognized
internationally for its high-quality productions and daring artistic ventures; several new American
operas have been commissioned by The Met in the past century, giving composers exposure and
prominence among the European masters.
American composers have made many important contributions to opera. George Gershwin was the
first to incorporate jazz into opera with his Porgy and Bess. William Grant Still’s 1941 Troubled
Island became the first opera written by an African-American composer to be produced by a major
opera house. Composers like Gian-Carlo Menotti and Carlisle Floyd have continued to write
popular works that have a distinctly American sound. New operas are often based on American
history (John Adams’ Nixon in China) or American literature (Floyd’s Of Mice and Men), offering
familiar plots for new audiences. These and similar efforts made by composers and companies
have made opera the fastest growing art form in the United States.
RECORDINGS OF POPULAR OPERAS FROM EACH ERA
Baroque
George F. Handel (1685-1759)
Giulio Cesare (RCA 1990 with Beverly Sills)
Adapted from Nashville Opera materials
Classical
Wolfgang Amadeus Mozart (1756-1791)
Le Nozze di Figaro (EMI 1990 with Giuseppe Taddei & Anna Moffo)
Così fan tutte (Angel Records 2000 with Elisabeth Schwarzkopf & Christa Ludwig)
Die Zauberflöte (Angel Records 2000 with Lucia Popp)
Italian Romantic
Gioacchino Rossini (1792-1868)
Il barbiere di Siviglia (Decca 1989 with Cecilia Bartoli)
Gaetano Donizetti (1797-1848)
Lucia di Lammermoor (Decca 1985 with Joan Sutherland)
Giuseppe Verdi (1813-1901)
La Traviata (Deutch Grammaphon 1990 with Placido Domingo & Ileana Contrubas)
Rigoletto (Decca 1995 with Luciano Pavarotti & Joan Sutherland)
Giacomo Puccini (1858-1924)
La Bohème (Decca 1990 with Mirella Freni & Luciano Pavarotti)
Tosca (EMI Classics 1997 with Maria Callas & Tito Gobbi)
Madama Butterfly (EMI Classics 1997 with Maria Callas)

German Romantic
Richard Wagner (1813-1883)
Tristan und Isolde (EMI Classics 2001 with Dietrich Fiescher-Dieskau & Kirsten Flagstad)
The Ring Cycle (Decca 1997 conducted by Georg Solti)
Richard Strauss (1864-1949)
Salome (Decca 1990 with Brigit Nilsson)
Engelbert Humperdinck (1854-1921)
Hansel und Gretel (RCA 1999 with Helen Donath, Anna Moffo & Christa Ludwig)
French Romantic
Charles Gounod (1818-1893)
Faust (EMI Classics 1990 with Placido Domingo & Mirella Freni)
Roméo et Juliette (EMI Classics 1994 with Franco Corelli & Mirella Freni)
Georges Bizet (1838-1875)
Carmen (EMI Classics 1997 with Maria Callas & Nicolai Gedda)
Modern American
Gian-Carlo Menotti (1911-2007)
Amahl and the Night Visitors (RCA 1990 conducted by Thomas Schippers)
The Medium (Cedille 1999 with Patrice Michaels & Joyce Castle)
Carlisle Floyd (b. 1926)
Susannah (Virgin Classics 1994 with Cheryl Studer & Samuel Ramey)
Of Mice and Men (Albany Records 2004 conducted by Patrick Summers)
Aaron Copland (1900-1990)
The Tender Land (virgin Records 1992 conducted by Philip Brunelle)

A GUIDE TO OPERATIC SINGING
Every culture in the world makes music. We can often recognize the origin of a song by its musical
elements. For example, Eastern cultures like China and Japan base their compositions on the
pentatonic scale (which is roughly represented by the black keys on the piano). Indian musicians
use instruments like the sitar and the tabla, which have very distinct sounds. In the same way, each
culture has developed its own style of singing.
Characteristics of a “Trained” Voice
Singing in Europe and America is now generally divided into two categories: classical and popular.
What most people think of as operatic or classical singing developed in Europe hundreds of years
ago. This style flourished during the seventeenth century, as opera became a popular form of
entertainment and operatic music increased in complexity. The most recognizable characteristics of
a classically trained voice are:
- an extensive range (the ability to sing both high and low)
- varying degrees of volume (loud and soft)
- resonance in the chest and sinus cavities (produces a “hooty,” “full,” or “round” sound)
- an ability to project or fill a large space without amplification.
Training
Very few people are born with the capability to sing this way. Classical singers take voice lessons
about once a week and practice every day for many years in order to develop a beautiful operatic
sound. In fact, most trained voices are not “mature” enough to perform leading roles on a big stage
until they’re at least 28 years old. Compare that with the most popular singers on the radio today –
Christina Aguilera was 15 years old when her first album was released!
Two tiny muscles
Science tells us that all sound is made by two things vibrating together. The same concept applies
when we talk or sing. The sounds we make are really just the vibration of two little muscles called
the vocal chords. The vocal chords are held in the larynx, which is sometimes called the voice box
or , in men, the Adam’s Apple. These two little muscles vary in length, but are typically between
one and two inches long.
When you want to say something, your brain tells your vocal chords to pull together until they are
touching lightly. Then, air pushes through them, and the vocal chords begin to vibrate, creating a
sound. The pitches you sing are dependent on the speed at which the chords vibrate. A faster
vibration creates a higher pitch. The length of the chords also affects the pitch of the voice. Longer
chords equal a lower voice.
The rest of the body
The vocal chords are only a small component of a larger machine that creates a beautiful singing
voice. That machine is the entire body, from the tip of the toes to the top of the noggin. In order to
sing with ease, every muscle needs to be relaxed (but not lazy!). If even one muscle is tense, it can
throw off the entire machine, which is immediately obvious in a singer’s vocal quality.

Breathing/Support
In order to sing long phrases with a lot of volume and a good tone, singers must breathe in a
specific manner, making use of the whole torso area (lungs, ribs, diaphragm, and viscera). As they
breathe in, each part of this network does its job: the lungs fill up, which forces the ribs to expand
and the diaphragm (a flat muscle below the lungs) moves down. As the diaphragm descends, the
viscera (stomach, intestines, and other organs) are forced down and out. Singers describe this
feeling as “fatness in the low stomach” or “filling an inner-tube” around their waist.
Expelling the air, or singing, is essentially a slow and controlled movement of those muscles. If all
of the air escapes from the lungs quickly, the tone of the voice will sound breathy and will lack
intensity. Successful opera singers must be able to isolate the diaphragm and ribs, controlling the
rate at which they return to their original positions. This allows for a consistent stream of air that
travels from the lungs, through the larynx, and out of the mouth.
Resonance
One of the most obvious characteristics of an operatic voice is a full, resonant tone. Singers
achieve this by lifting their “soft pallet.” This is a part of the mouth that most people don’t ever
think about. It can be difficult to isolate if you don’t obsess over it like most singers do. Here are
some simple exercises to feel where it is and hear the resonance in your voice when you lift it:
- Start to yawn. Feel that lifting sensation in the back of your mouth? That’s the soft pallet going
up.
- Slide your tongue along the roof of your mouth, from your teeth back toward your throat. You
should feel your tongue go up, then down (that’s your hard pallet), then back up again. That soft,
fleshy area at the very back is your soft pallet.
- Say the word “who” as you would say it in normal conversation. Now, say “hoooo” like a hoot
owl. Can you hear the difference?
Lifting the soft pallet is the foundation for the resonance in a singer’s voice. With a lot of practice,
a singer can lift his or her pallet as soon as they begin to sing, without even thinking about it.
Vibrato
Proper breathing and full resonance are essential for producing a clear vocal tone with an even
“vibrato” (the Italian word meaning “to vibrate”). Vibrato can be described as a “wiggle” in the
voice, or technically, a consistent variation in the pitch of a tone. While many pop singers try to
remove this element of singing for the sake of style, vibrato in an opera singer’s voice is a must – it
increases the warmth and resonance of the tone and also allows for accurate tuning.
Registers of the Voice
Head Voice
Without getting too technical, the head voice is the higher register, which is achieved by tapping
into the resonance in the sinus cavities. It’s called the head voice because you literally feel like
your voice is coming out of your head rather than your throat or chest.

Chest Voice
This is where the natural speaking voice falls. If you put your hand on your chest and yell “Hey!”
you can feel that this register resonates in the chest rather than the head. Broadway and pop singers
like Christina Aguilera use it almost exclusively, but female opera singers generally avoid it unless
they’re singing really low notes. Even then, it must have the same fullness as the head voice. Men
sing mostly in this voice.
Falsetto
This register applies to male voices only. Falsetto happens when the vocal chords do not vibrate
fully, which creates a high, feminine sound. It is frequently used by male characters when they are
imitating females.
A COMPARISON: TRAINED VS. UNTRAINED
Have you ever wondered why opera singers sound different from the pop singers you hear on the
radio? Singers of pop music, rock and roll, R&B, folk, and country are often referred to as
“commercial.” While their styles vary considerably, the way they use their voices seems to be
relatively consistent.
Training
Commercial singers do not historically train in the same way that classical singers do. While there
are schools like Belmont University who offer degrees in Commercial Voice, many of the most
successful non-classical singers of today are known more for their unique style, natural talent, and
personality than for their technical mastery of the voice.
Breathing/Support
Unlike classical singers, commercial singers usually breathe just as they would when they’re
speaking normally. A long phrase might warrant a big breath, but studying the placement and
movement of one’s internal organs is not usually something that is done by pop singers.
Resonance
Most commercial singers are just not concerned with creating a resonant tone. In fact, a pop song
sung with a lot of resonance would probably sound extremely odd to most people.
Projection/Volume
Essentially all commercial singers depend upon microphones to be heard in a large performance
space. This enables the singers to deliver their message in either a loud, dramatic style, or in an
intimate, conversational style, with little physical effort. Opera singers, however, depend on the
acoustics of the performance space and their ability to project their voices naturally to be heard.
Microphones are almost never used in operatic performances.

A CHECKLIST FOR OPERA SINGERS
A good opera singer must have:
Volume
Opera singers are trained to be heard in large theaters, such as the Marcus Center for the Performing
Arts, without using microphones. Singers train for years to be able to sing loudly enough to be
heard over other soloists, a chorus, and a large orchestra of about 70 instruments. How loudly can
an opera singer sing? When a jet takes off, the sound reaches 110-120 decibels, the human
threshold level of pain. A powerful opera singer, singing very close to another person’s ear, could
reach up to 110 decibels.
Stamina
Opera requires the ability to sing for two to three hours or even longer. Opera singers rarely
perform on consecutive evenings because they are so physically exhausted by the performances.
Range
Operatic music, as written, requires singers to have a large range – to be able to sing very low notes
as well as extremely high notes.
Acting ability
Opera singers don’t just stand on stage and sing; they must be able to act, as well. Just like actors
in a play, the singers must make the audience believe in their characters. For example, the Witch in
Hansel and Gretel would not be as effective (or scary!) if the singer could not act well.
The right “look”
Just like an actor in a movie, it is important for an opera singer to look the part of the character he
or she is portraying.
Familiarity with different languages
Since opera was developed in Europe, most operas are written in languages other than English. A
singer must be familiar with the pronunciation of foreign languages as well as the meaning of each
word that they sing. It is not unusual for an American singer to perform in Italian, French or
German. Sometimes, they are also expected to learn sing in languages such as Spanish, Latin and
Russian.

A GUIDE TO OPERATIC VOICE TYPES
All classical singers fall into one of the categories listed below. A singer cannot choose his/her
voice type – it is something they are born with. Composers usually assign a voice type to a
character based on his/her personality or age. Read these descriptions for specific examples.
Women
Soprano
A soprano is the highest female voice, with a range similar to a violin. In opera, the soprano most
often plays the young girl or the heroine (sometimes called the Prima Donna), since a high bright
voice traditionally suggests femininity, virtue, and innocence. The normal range of a soprano is
two octaves up from middle C, sometimes with extra top notes. Most women are sopranos.
Mezzo-Soprano
Also called a mezzo, the Italian word for middle, this is the middle female voice, similar to an oboe
in range. A mezzo’s sound is often darker and warmer than a soprano’s. In opera, composers
generally use a mezzo to portray older women, villainesses, seductive heroines, and sometimes
even young boys (like Hansel). This portrayal of young boys is a special operatic convention,
called a “trouser role” or a “pants role.” The mezzo’s normal range is from the “A” below middle
C to the “A” two octaves above it.
Contralto
This is the lowest female voice, similar in range to a clarinet. Contraltos usually sing the roles of
older females or special character parts such as witches and old gypsies. The range is two octaves
from F below middle C to the top line of the treble clef. A true contralto is very rare – some believe
they don’t exist at all!
Men
Counter-tenor
This is the highest male voice, which was mainly used in very early opera and oratorio (a genre of
classical vocal music similar to opera but generally based on a religious topic and accompanied by a
choir). The voice of a countertenor sounds very much like a mezzo-soprano’s voice and they often
sing the same repertoire. Like the contralto, true countertenors are very rare.
Tenor
The tenor is usually the highest male voice in an opera. It is similar to a trumpet in range, tone,
color, and acoustical ring. The tenor typically plays the hero or love interest in an opera. His voice
ranges from the C below middle C to the C above.

Baritone
The middle male voice, close to a French horn in range and tone color, is the baritone. In opera
buffa (comedic opera), the baritone is often the ringleader of the comedy, but in opera seria (serious
or tragic opera), he is usually the villain. The range is from the G that is an octave and a half below
middle C to the G above middle C.
Bass
The lowest male voice, it is similar to a trombone or bassoon in range and color. Low voices
usually suggest age and wisdom in serious opera. In comic opera they are generally used for old
characters that are foolish or laughable. The range is roughly two or two and a half octaves down
from the F above middle C.
Discovering your voice type is not as simple as having green eyes or blue. Singers often float
between these categories, and some never really know where they fit. Sometimes, a female singer
starts out her training as a soprano and ends up singing mezzo roles a few years into her studies.
Baritones with good high notes are often mistaken for tenors. Singing the wrong repertoire can lead
to all sorts of vocal problems and can even shorten or end a singer’s career. That’s why it is very
important to have a good teacher that you trust and to be selective in the jobs you choose.
Voice Types Based on Size and Quality
Voices are also categorized according to size and quality of voice. There are small, medium,
medium-large, and large voices in opera. The quality of a voice can be defined using the following
terms:
Soubrette
Soubrette describes a soprano of very light vocal weight, comparatively small range, and the looks
and disposition of a young girl. Soubrette roles are often flirtatious and witty, and outsmart the rich
and powerful by the end of the opera. Many soubrette roles have names that end in –ina: Despina
(Mozart’s Così fan tutte), Adina (Donizetti’s The Elixir of Love), and Zerlina (Mozart’s Don
Giovanni) are all soubrettes.
Character
A singer with an exceedingly unique and rarely beautiful sound (and often the looks to match) can
make a fine living singing character roles. While they don’t get the fattest paycheck, they do tend
to get all the laughs. This classification is reserved for the lower voices (mezzo, tenor, baritone,
and bass). Examples are the Witch (Humperdinck’s Hansel und Gretel) and the stuttering lawyer,
Don Curzio (Mozart’s The Marriage of Figaro).
Coloratura
Female singers described as coloraturas have great vocal agility, stunning high notes, and the ability
to sing complicated vocal ornamentation. The Queen of the Night (Mozart’s The Magic Flute) is a
coloratura soprano. Rosina (Rossini’s The Barber of Seville) is a coloratura mezzo.

Lyric
The word lyric generally describes a singer who specializes in long phrases and a beautiful tone.
To break it down further, there are light-lyric, full-lyric, and other lyric titles that can precede the
general voice type of soprano, tenor, and so on. For a more detailed description, read on.
“Lyric” can mean a variety of different things. While there are no hard and fast rules, there are a
few widely accepted distinctions, which are outlined below.
- A light-lyric soprano like Pamina (Mozart’s The Magic Flute) should have a bigger voice than a
soubrette but still possess a youthful quality. A full-lyric soprano has a more mature sound and can
be heard over a bigger orchestra. (An example is the character of Mimi in Puccini’s La Bohème).
Full-lyric sopranos are typically the highest paid of all the voice types.
- A light-lyric mezzo is the equivalent of the soubrette and generally plays young boys like Hansel
(Humperdinck’s Hansel und Gretel). In this case, the long phrases mentioned above are traded for
agility and charm. A plain old lyric mezzo (no “full” distinction here) is usually an old woman or a
temptress of some sort – Bizet’s Carmen is the quintessential lyric mezzo.
- Most tenors fall into the lyric category and don’t call themselves light or full. However, some
specific operatic roles for tenors are separated further (though not necessarily the singers
themselves). Tamino (Mozart’s The Magic Flute) must be sung by a youthful tenor with a light
voice, thus earning the distinction of a light-lyric tenor role. Puccini’s Cavradossi (Tosca) is
decidedly heavier than young Tamino but is still considered a lyric tenor by most people.
- There are light baritones, but they fall into the lyric pot with the rest of the bunch. Baritones are
baritones, unless they’re really loud. Which brings us to…
Dramatic
Dramatic describes the heaviest voices in any category except for bass. Dramatic singers are
capable of sustained declamation and a great deal of power, even over the largest orchestra of about
80 instruments. The title role in Puccini’s Turandot is sung by a dramatic soprano. Most of Verdi’s
lead characters require a dramatic voice (e.g. Otello).
Helden
A German prefix meaning “heroic,” this term is applied to a large voice capable of performing the
most demanding roles, usually used in reference to roles written by Richard Wagner. Brünnhilde
(the character most often associated with braids and a horned helmet) is a helden-soprano role.

FAMOUS OPERA SINGERS
Listed with each singer is an example of one album in case you would like to build your library.
Some of their websites are included too.
Sopranos
Kathleen Battle, American light-lyric. Baroque Duet with Wynton Marsalis – Sony Classical label.
www.sonyclassical.com/artists/battle/bio.html
Renée Fleming, American full-lyric. Formerly a jazz singer. Won a Grammy award for The
Beautiful Voice – Decca label. www.renee-fleming.com
Deborah Voigt, American dramatic. Obsessions: Wagner and Strauss Arias and Scenes – EMI
Classics label. www.deborahvoigt.com
Natalie Dessay, French coloratura. Vocalises – EMI Classics label.
Maria Callas, Greek opera singer, impossible to categorize. Sang both soprano and mezzo roles.
Maria Callas: The Voice of the Century – EMI Classics label. www.callas.it
Other sopranos to consider:
Edita Gruberova, Angela Gheorghiu, Anna Netrebko, Mirella Freni, Renata Scotto, Birgitt Nilsson,
Jessye Norman, Barbara Bonney, Sylvia McNair, Joan Sutherland, Kiri TeKanawa.
Mezzo-Sopranos
Cecilia Bartoli [BAR-toh-lee], Italian singer once categorized as a mezzo, now singing literature
written for castrati in the 17 th and 18 th centuries. The Vivaldi Album – Decca label. Viva Vivaldi!
DVD.
Susan Graham, American light-lyric. Il tenero momento: Mozart and Gluck arias – Erato label.
www.susangraham.com
Olga Borodina [bor-o-DEE-nuh], Russian dramatic. Olga Borodina: Arias – Philips label.
www.deccaclassics.com/artists/borodina
Marilyn Horne, American singer also difficult to categorize. Rossini Heroes and Heroines – Decca
label. www.marilynhornefdn.org
Jennifer Larmore, American full-lyric. Call Me Mister – Teldec label. www.jenniferlarmore.com
Marian Anderson, American contralto. Made history in 1955 as the first African-American female
to sing at the Met. Also sang on the steps of the Lincoln Memorial in 1939 for an integrated
audience of 75,000. Marian Anderson – RCA Victor label. www.mariananderson.org

Other mezzo-sopranos to consider:
Frederica von Stade, Denyce Graves, Anne Sophie von Otter, Lorraine Hunt Lieberson, Ewa Podles
Counter-tenors
Andreas Scholl, English. Andreas Scholl: Heroes – Decca label. www.andreasschollsociety.org
David Daniels, American. Handel Operatic Arias – Veritas label. www.danielssings.com
Derek Lee Ragin, American. Handel Cantatas and Sonatas – Channel Classics label.
www.colbertartists.com/ArtistBio.asp?ID=9
Other countertenors to consider:
Brian Asawa, Russell Oberlin, Drew Minter, Yoshikazu Mera
Tenors
Luciano Pavarotti, Italian. The Pavarotti Edition: Volumes 1-10 – Decca label.
www.lucianopavarotti.com
Ian Bostridge, English lyric. Schubert Lieder Volume One – EMI Classics label.
www.emiclassics.com/artists/biogs/bistb.html
Roberto Alagna [ah-LAHN-yuh], French. Roberto Alagna – EMI Classics label.
www.emiclassics.com/artists/alagna/
Juan Diego Florez, Argentinean. Great Tenor Arias – Decca label.
www.deccaclassics.com/artists/florez/
Other tenors to consider:
Fritz Wunderlich, Enrico Caruso, Placido Domingo, Jose Cura, John Mark Ainsley, Jose Carreras
Baritones
Bryn Terfel [TER-fuhl], Welsh bass-baritone. Opera Arias – Deutsche Grammophon label.
www.deutschegrammophon.com/artistmicrosite/?ART_ID-TERBR
Dmitri Hvorostovsky [vor-oh-STAHV-skee], Russian lyric. Verdi Arias – Delos label.
www.hvorostovsky.com (fan site)
Thomas Hampson, American lyric. The Very Best of Thomas Hampson – EMI Classics label.
www.hampsong.com
Matthias Goerne, German bass-baritone. Arias – Decca label.
www.deccaclassics.com/artists/goerne/

Other baritones to consider:
Dietrich Fischer-Dieskau, Rodney Gilfry, Thomas Quastoff, Thomas Allen, Robert Merrill, Sherrill
Milnes
Basses
Samuel Ramey, American. A Date with the Devil – Naxos label. www.samuelramey.com
Nicolai Ghiaurov, Bulgarian. Great Scenes from Verdi Operas – Decca label.
www.deccaclassics.com/artists/ghiaurov/biog.html#
James Morris, American. Opera Arias – Capitol Records label.
www.ffaire.com/wagner/morris.html
Other basses to consider:
Kurt Moll, Robert Milne, Rene Pape, Ezio Pinza

OPERA MYTHS EXPOSED
Read on to dispel some preconceived notions about opera and what an operatic
experience entails. The following may sound familiar:
"I won't go to the opera because it's only for rich people."
This is not true. Yes, getting front-row seats at most top-notch opera houses would
cost you a month's worth of groceries. (The best seats at the Metropolitan Opera
House in New York City are now over $200 each.) But if you're willing to sacrifice
your fantastic view of the performers' feet, less expensive seats (especially for
students) are available.
"I won't go to the opera because it puts me to sleep."
Not unless you're bored by romance, murder, intrigue, betrayal, drama, magic,
passion, switched identities, and star-crossed lovers!
"Opera is a dead art form, so it's not worth going."
Composers today are experimenting with opera, trying to find new ways of keeping
the form alive. And the fastest growing opera audience in the U.S. right now is
people in their twenties and thirties.
"I won't go to the opera because it's all sung in some foreign language and I
can't understand it."
It's true that most well-known operas were written in Europe and are frequently
performed in their original Italian, German or French. Today many opera companies
perform translations so that the audience can follow the action as it's going on. In
fact, the Florentine Opera Company’s production of The Merry Widow is Ted and
Deena Puffer’s English translation of the original German. Moreover, all Florentine
productions, even those in English, include English super-titles projected above the
stage.
No matter what language the opera is in, though, if you follow the instructions listed
below, you'll be prepared to enjoy yourself. Moreover, many opera companies have
super-titles projected above the stage that translate for you simultaneously.

OPERA TRUTHS REVEALED
Some of your preconceived notions about opera are correct, and you should realize
this as well. This will help you be prepared for your experience at the opera and
enjoy the performance more:
Opera is long (compared to other forms of entertainment).
Because all of the words in opera are sung, not spoken, it takes a longer time to move
through the plot. Expect to spend at least 2 to 3 hours at the opera house, including at
least one 15-minute intermission to stretch and wait in line for the bathroom (and
remember, you won’t find a movie that long that includes an intermission!)
Opera is basically a play set to music.
This is true. While there is dialogue, questions, arguments, and even moments of
silence in opera, the focus is on the music and the singing, which makes everything
more dramatic.
Opera is classical music.
Most standard opera is classical music. There are some exceptions, like The Who's
Tommy, a rock opera written in 1969, but as a general rule, you shouldn't expect to
hear guitars and drums coming out of the orchestra pit. Don't be scared off by the
words "classical music," however. In fact, if you follow the tips below, you will
become so engrossed in the opera that you will find yourself eagerly counting down
until the beginning of the live performance.

TIPS FOR EFFECTIVE LISTENING:
Getting the Most out of your Trip to the Opera
1. Read the plot summary: The plot summary that comes with most opera CDs may
give away the ending, but it's worth reading it just to know what's going on - you can
relax and listen better when you're not worrying about catching every syllable.
Sometimes the liner notes provide good background history (the opera's place in
music history, its compositional style, or why the composer chose the story); this is
also interesting, but definitely not mandatory. If you have time, check out the
Florentine Opera’s Online Insights segments, which are created to give you a wealth
of information about each opera presented.
2. You can look for a performance in English if you like, but most operas come with
a libretto, the words and translation written down, so you can read along and follow
the story. Librettos are on sale at all Florentine Opera productions.
3. Listen in segments: If you get bored and your mind starts to wander, shut off the
CD player and come back to it in an hour or a day or two. Listening to one act or
even one scene at a time keeps listening from getting monotonous. You might be
surprised, though, at how much you get caught up in the story. Even playing it in the
background while you're working or driving will familiarize you with the music. If
all else fails and you find one opera unappealing, try another from a later or earlier
time period or by a different composer.
4. Your library might also carry videos. If that's the case, pick up a performance of an
opera you've become familiar with, and see what it looks like on stage. All this, of
course, is only preparation for the next step: seeing how opera was meant to be
performed.
5. Start with an opera that you've already listened to, so you can compare your vision
with the specific production. Keep in mind that it's always more dramatic watching
people on stage than plugging in your CD player, since live opera adds a whole other
dimension to the music. After all, operas were designed to be performed, not just
heard (just like plays were written to be performed, not just read).
6. Attend a pre-performance lecture. The Florentine Opera offers Opera Insights,
which include an informative talk and live preview performances, several weeks
before the opening of each production. In addition, a Pre-Opera Talk, including

ackground information and audio/visual clips is held an hour before the each
production right at the Marcus Center for the Performing arts.
Once you're familiar with the music, the story and the context of an opera, watching
it on a stage where you can see the action unfold and hear live orchestra and singers
will captivate you even more.
Additional Online Resources
If you’d like to do your own research about opera, check out the following links. Note: These
websites are not sponsored by nor affiliated with The Florentine Opera Company.
All About Opera
www.allaboutopera.com/
Opera Base
http://www.operabase.com/
Opera Glass
http://opera.stanford.edu/
Opera Magazine
http://www.opera.co.uk/
Opera News Online
http://www.metoperafamily.org/operanews/
Classic Cat
http://www.classiccat.net
Classical Net
http://www.classical.net
Music With Ease
http://www.musicwithease.com/