Question: Spinto is a term that describes a voice that is near what type of voice that can sing over an orchestra?

Context articles: Abstract and concrete
Spinto soprano
Peter Lindroos
Spinto
Joseph Malovany
Voice type
Bass-baritone
Vocal weight
I Can See Your Voice Thailand
Dramatic soprano

Abstract and concrete (German: "abstrakt; konkret" ) are classifications that denote whether a term describes an object with a physical referent or one with no physical referents.
 They are most commonly used in philosophy and semantics.
 Abstract objects are sometimes called abstracta (sing.
 abstractum) and concrete objects are sometimes called concreta (sing.
 concretum).
 An abstract object is an object which does not exist at any particular time or place, but rather exists as a type of thing, i.e., an idea, or abstraction.
 The term 'abstract object' is said to have been coined by Willard Van Orman Quine.
 The study of abstract objects is called abstract object theory.
A spinto soprano (also lirico-spinto, spinto lyric soprano or "pushed lyric") is a type of operatic soprano voice that has the limpidity and easy high notes of a lyric soprano, yet can be "pushed" on to achieve dramatic climaxes without strain.
 This type of voice may possess a somewhat darker timbre, too, than the average lyric soprano.
 It generally uses "squillo" to "slice" through the sound of a full orchestra, rather than singing over the orchestra like a true dramatic soprano.
Paul Peter Christer Lindroos (26 February 1944 – 17 November 2003) was a Finnish opera singer who appeared in leading tenor roles throughout Europe but was particularly associated with the Finnish National Opera and the Royal Danish Opera.
 Although he specialised in the 19th-century Italian "lirico spinto" repertoire, he also sang in many 20th-century works and created the role of The King in Erik Bergman's "Det sjungande trädet" in 1995.
 In his later years he was a professor of voice at the Sibelius Academy in Helsinki and the Malmö Academy of Music in Sweden.
 He died along with his young son in a car accident near Malmö at the age of 59.
 He is buried in Pohja, Finland, the town of his birth.
Spinto (from Italian, "pushed") is a vocal term used to characterize a soprano or tenor voice of a weight between lyric and dramatic that is capable of handling large musical climaxes in opera at moderate intervals.
 (Sometimes the terms "lirico-spinto " or "jugendlich-dramatisch " are used to denote this category of voice.)
Joseph Malovany(born in 1941 in Tel Aviv) is an Israeli-born American tenor soloist.
 A world-famous cantor, serving as Hazzan of New York's Fifth Avenue Synagogue since 1973, and a Distinguished Professor of Liturgical Music at Philip and Sarah Belz School of Jewish Music, Yeshiva University.
 Malovany possesses a brilliant spinto tenor voice, described by the London Guardian as “most powerful, beautiful and expressive spinto technique…sturdy and heroic” and by the Swedish newspaper Goteborgs Posten as “Judaism’s Jussi Bjorling”.
A voice type is a particular human singing voice identified as having certain qualities or characteristics of vocal range, vocal weight, tessitura, vocal timbre, and vocal transition points ("passaggio"), such as breaks and lifts within the voice.
 Other considerations are physical characteristics, speech level, scientific testing, and vocal register.
 A singer's voice type is identified by a process known as voice classification, by which the human voice is evaluated and thereby designated into a particular voice type.
 The discipline of voice classification developed within European classical music and is not generally applicable to other forms of singing.
 Voice classification is often used within opera to associate possible roles with potential voices.
 Several different voice classification systems are available to identify voice types, including the German "Fach" system and the choral music system among many others; no system is universally applied or accepted.
A bass-baritone is a high-lying bass or low-lying "classical" baritone voice type which shares certain qualities with the true baritone voice.
 The term arose in the late 19th century to describe the particular type of voice required to sing three Wagnerian roles: the Dutchman in "Der fliegende Holländer", Wotan/Der Wanderer in the "Ring Cycle" and Hans Sachs in "Die Meistersinger von Nürnberg".
 Wagner labelled these roles as "Hoher Bass" ("high bass")—see fach for more details.
Vocal weight refers to the perceived "lightness" or "heaviness" of a singing voice.
 This quality of the voice is one of the major determining factors in voice classification within classical music.
 Lighter voices are often associated with the term "lyric" and are usually brighter and more agile; heavier voices are often associated with the term "dramatic" and are usually powerful, rich, and darker.
 Other voice types like the spinto have a more medium vocal weight.
 Vocal weight can also affect overall vocal agility; heavier voices often have more difficulty maneuvering through florid coloratura passages than their lighter counterparts, as their weight and power compromises agility.
 Likewise, dramatic roles are often written with larger orchestras in mind as dramatic voices can carry more easily over larger ensembles.
A guest star (singer) looks for one of seven people to sing featuring, attempt to guess if each contestant is either a "Singer Lovely Voice" and a "Singer Loud Voice" (mystery singer), the guest, skilled vocalist and tone-deaf has to listening singer in 1-2 seconds.
 The guest, tone-deaf and skilled vocalist has to take singer think sing to distorted out by listening sound in 1-2 seconds each round (the singer has to answer sound to lovely voice or loud voice).
 Eliminated contestants will then reveal their singing ability and remaining the last person sing a song with guest successfully.
A dramatic soprano is a type of operatic soprano with a powerful, rich, emotive voice that can sing over, or cut through, a full orchestra.
 Thicker vocal folds in dramatic voices usually (but not always) mean less agility than lighter voices but a sustained, fuller sound.
 Usually this voice has a lower tessitura than other sopranos, and a darker timbre.
 They are often used for heroic, often long-suffering, tragic women of opera.
 Dramatic sopranos have a range from approximately low A (A) to "high C" (C).
 Some dramatic sopranos, known as Wagnerian sopranos, have an exceptionally big voice that can assert itself over a large orchestra (of more than 80 or even 100 pieces).
 These voices are substantial, often denser in tone, extremely powerful and, ideally, evenly balanced throughout the vocal registers. Wagnerian sopranos usually play mythic heroines.
 Successful Wagnerian sopranos are rare and often Wagnerian roles are performed by Italianate dramatic sopranos.