Talk:Coloratura soprano

message: It's important to correct all the capitalization in this article. WP uses sentence-style capitals. -- Kleinzach (talk) 00:35, 6 December 2007 (UTC)
thread_title: Capitalization

message: "To hear an example of a dramatic coloratura soprano(Maria Callas in the role of Rosina (soprano version) from The Barber of Seville) click on this link: Watch Here". Callas is perhaps a dramatic coloratura, but this aria doesn't demonstrate it. This is a mezzo-soprano aria sung in the original key, and although it's a coloratura mezzo part it's definitely not a dramatic part. It is better to put a link to Callas' Norma or Traviata or Macbeth. AdamChapman (talk) 20:02, 2 January 2008 (UTC)
replies: text: I agree that a better example could be found, but I do believe this is the higher key version that is performed by sopranos and not mezzos.Nrswanson (talk) 22:23, 10 March 2008 (UTC)
replies: text: It's not matter of belief. You can sit next to the piano and check. The key is E, which is the original key for mezzos. In this key the singer goes down to g-sharp. Callas was unique - she could sing these mezzo roles of Rosina and Carmen in their original forms. It should actually be an example of overlapping repertoire between faches. AdamChapman (talk) 10:44, 18 May 2008 (UTC)
thread_title: Major error

message: It says here that soprano sfogato is a soprano which is able to hit higher than f. As far as I know, Malibran and Pasta (and more recently Bartoli) are described as soprano sfogato for their ability to encompass the low alto register as well as the soprano heights. Consequently, I guess this term denotes some kind of intermediate voice between mezzo and soprano, and a high coloratura soprano. AdamChapman (talk) 09:56, 8 March 2008 (UTC)
replies: text: The Harvard dictionary of music merely says that this is the highest of soprano voices. The term seems to be associated with the upper register of the voice and not the lower register.Nrswanson (talk) 22:21, 10 March 2008 (UTC)
replies: text: The dictionary is probably right. It could be interesting, though, to check the different uses of this term - Many people call Bartoli a "soprano sfogato". Are they wrong? Perhaps the terms can be referred to both sides of the range? AdamChapman (talk) 10:48, 18 May 2008 (UTC)
replies: text: The more research I do on this the more convinced I am that Bartoli (and Malibran for that matter) are not sfogato soprano. Every professional resource I come across keeps refering to an upper extension beyond the normal coloratura range. It also refers to a characteristic light quality (sometimes even described as "thin") to the voice which seems counter to the more dramatic full sounds of Bartoli. It seems that there is some debate as to whether Callas deserves the title among some scholars as her voice is a bit too dark and heavy. The same would seem to apply to Pasta. Classic examples of sfogato are Mado Robin, Lily Pons, Toti Dal Monte, and Amelita Galli-Curci. These singers were listed in many different resources.Nrswanson (talk) 14:51, 18 May 2008 (UTC)

text: Actually, the right term would be soprano ACUTO sfogato, which means "unlimited high". In opera when someone talks about the legendary soprano sfogato, it refers to a voice that can sing the mezzo and contralto roles as well as the soprano roles, such was the case of Giuditta Pasta, creator of the high coloratura roles of "La Sonnambula" as well as dramatic coloratura of "Norma" and lyric coloratura of "Anna Bolena", BUT also an accomplished Tancredi and Arsace! Same goes for Maria Malibran who sang Tancredi as well as La Sonnambula, Arsace as well as Semiramide! And Maria Callas is called a soprano sfogato because of her contralto-like low register with the high notes of a lyric coloratura, a range of 3 octaves!.  —Preceding unsigned comment added by 198.64.38.75 (talk) 23:06, 10 July 2008 (UTC)

text: *There is no such thing as a non-classical coloratura soprano. A coloratura soprano is a specific kind of opera singer. To refer to a non-classical singer as a coloratura soprano is an error. Velasquez or Minnie (not Mimi) Riperton are not coloratura sopranos and should never be refered to as such.Nrswanson (talk) 13:33, 22 October 2008 (UTC)

text: *Your talking about so-called "non-classical" soprano singers is making your ignorance to music blatantly obvious.  Sopranos always sing in a classical context so please stop repeatedly trying to add Regine Velasquez to the list of singers in the article.  She is not a classical singer.  She is a pop singer with a belt.  Belting is not classical singing, it is pop-music singing.  There is a barricade of a difference, in case you don't notice it.  And let me further explain that hitting high notes doesn't automatically make you a soprano.  It has to do with the type of vocal modulation and release technique you employ.  If chest voice is employed, like Miss Velasquez does, it's belting.  And if you want to give her a classical classification as a singer, she would fall under Mezzo Soprano with a belt - similar to Idina Menzel.  Please, from now on, learn the difference and stop trying to insist.  —Preceding unsigned comment added by 121.97.85.66 (talk) 21:03, 14 April 2010 (UTC)
thread_title: Another error

message: Isn't the correct spelling "soprano leggero," without the "i"? I know for sure that "leggero" is the proper Italian spelling.24.255.28.107 (talk) 18:23, 19 December 2008 (UTC)
replies: text: The rather bizarre "leggiero" spelling is correct (well, it's the standard spelling in English anyway). It appears in this form in the Dolmetsch Online reference, and in the Grove Dictionary of Opera (under "Light Soprano").  Odd, but apparently true. Scarabocchio (talk) 12:04, 9 June 2011 (UTC)
thread_title: Spelling of "leggero"

message: Ruth Ann Swenson is for me in between lyric and dramatic coloratura soprano - has got the power and massive weight of dramatic, but warm soft full and clean instead of husky tone, what is on the other hand typical for lyric.
Diana damrau is for me "spinto" coloratura soprano - not really dramatic. She`s got the ability to "push" the voice, what is typical for spinto.
I think, that many voices are in between different "Fach". These voice types are more ideas of a voice and not absolutely adequate for every voice characterization.  —Preceding unsigned comment added by 79.218.205.229 (talk) 13:28, 13 March 2009 (UTC)
thread_title: untitled section

message: Someone keeps removing Kristin Chenoweth from the list of lyric coloratura singers.  In case you don't know, she is one! The role of Cunegonde in Candide heavily qualifies and in case you also didn't know, she performed that role.  Go to YouTube!  —Preceding unsigned comment added by 121.97.85.66 (talk) 21:27, 10 May 2010 (UTC)
thread_title: Kristin Chenoweth

message: These are the first two obvious omissions I can see from these listings.  I mean, Constanze?  Martern aller Arten?  It's one of the biggies. Morag Kerr (talk) 16:34, 22 February 2011 (UTC)
thread_title:  Constanze?  Donna Elvira? Other omissions? 

message: Her most prominent role is the queen of the night und her aria Der Hölle Rache may be one of the best interpretations ever.  —Preceding unsigned comment added by 178.1.216.197 (talk) 12:17, 20 May 2011 (UTC)
thread_title:  Diana Damrau: Lyric or dramatic? 

message: Diana Damrau is a dramatic coloratura soprano. She is not a lyric. She is rare because not only is her voice big, but it can get up there into the statospheric territory. She is however a dramatic coloratura soprano.  — Preceding unsigned comment added by 70.10.141.228 (talk) 00:52, 15 January 2013 (UTC)
thread_title:  Damrau is a Dramatic 

message: She was famous for her Butterfly. I would say that she's a lirico-spinto with a superb command of coloratura. I don't think Moffo was a light lyric instrument. She had an excellent chiaroscuro, so she could color her voice to sound high and bright, though.
And as for Damrau, she considers herself lyrical, and I have to agree ("My voice has lyric potential that I want to make the most of."). In weight and volume, if we take out the coloratura and the high notes, she seems to be just on a par with a full-lyric. The biggest role she's taken on so far is Violetta, and aside from that, she's ventured roles like Juliette and Manon, which are both lighter lyric roles. The only "dramatic coloratura" she's done are the Mozartian ones, but one need not a spinto or dramatic size per se to sing roles like the Queen of the Night or Constanze. I would say, in terms of size, she's similar to Ruth Ann Swenson.
I would love to hear other peoples' opinions on this.  — Preceding unsigned comment added by 182.213.96.57 (talk) 11:28, 30 June 2013 (UTC)
thread_title:  Anna Moffo a lyric coloratura? 

message: The section title: "Lyric coloratura soprano roles[2]"  and the following list must be insider jargon since it's 100% meaningless.  (a list of factoids is not an explanation nor a definition.) Please delete or explain (does not meet Wiki standards).  <BR> --2602:306:CFCE:1EE0:356E:18BE:3E99:2A65 (talk) 04:10, 29 September 2019 (UTC)
thread_title:  Jargon 

message: When these lists were originally created they were essentially a recreation of lists already found in Boldrey. The lists have been altered since that time, and the sources cited do not support the list in their current state. I thinks it is time we start requiring citations for each individual role, and then trimming any roles that lacks a citation. Some of the additions on here are questionable.4meter4 (talk) 00:21, 17 March 2021 (UTC)
replies: text: +1 -- Michael Bednarek (talk) 03:03, 17 March 2021 (UTC)
thread_title:  Lists have expanded far beyond Boldrey