Coloratura

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Coloratura is an elaborate melody with runs, trills, wide leaps, or similar virtuoso-like material,[1][2] or a passage of such music. Operatic roles in which such music plays a prominent part, and singers of these roles, are also called coloratura.[3] Its instrumental equivalent is ornamentation.

Coloratura is particularly found in vocal music and especially in operatic singing of the 18th and 19th centuries. The word coloratura (UK: /ˌkɒlərəˈtjʊərə/ COL-ə-rə-TURE-ə, US: /ˌkʌl-/ CUL-, Italian: [koloraˈtuːra]) means \"coloring\" in Italian, and derives from the Latin word colorare (\"to color\").[1]

The term coloratura was first defined in several early non-Italian music dictionaries: Michael Praetorius's Syntagma musicum (1618); Sébastien de Brossard's Dictionaire de musique (1703); and Johann Gottfried Walther's Musicalisches Lexicon (1732). In these early texts \"the term is dealt with briefly and always with reference to Italian usage\".[4]

The term is not restricted to describing any one range of voice. All female and male voice types may achieve mastery of coloratura technique. There are coloratura parts for all voice types in different musical genres.[3]

Richard Miller names two types of soprano coloratura voices (the coloratura and the dramatic coloratura)[6] as well as a mezzo-soprano coloratura voice,[7] and although he does not mention the coloratura contralto, he includes mention of specific works requiring coloratura technique for the contralto voice.[8]

The term coloratura refers to the elaborate ornamentation of a melody, which is a typical component of the music written for this voice. Within the coloratura category, there are roles written specifically for lighter voices known as lyric coloraturas and others for larger voices known as dramatic coloraturas. Categories within a certain vocal range are determined by the size, weight and color of the voice. Coloratura is particularly found in vocal music and especially in operatic singing of the 18th and 19th centuries. The word coloratura (UK: /ˌkɒlərəˈtjʊərə/ COL-ə-rə-TURE-ə, US: /ˌkʌl-/ CUL-, Italian: [koloraˈtuːra]) means \"coloring\" in Italian, and derives from the Latin word colorare (\"to color\").[1]

A very agile light voice with a high upper extension, capable of fast vocal coloratura. Lyric coloraturas have a range of approximately middle C (C4) to \"high F\" (F6). Such a soprano is sometimes referred to as a soprano leggero if her vocal timbre has a slightly warmer quality. The soprano leggero also typically does not go as high as other coloraturas, peaking at a \"high E\" (E6).[2] Bel canto roles were typically written for this voice, and a wide variety of other composers have also written coloratura parts. Baroque music, early music and baroque opera also have many roles for this voice.[3]

Although both lyric and dramatic coloraturas can be acuto sfogato sopranos, the primary attribute of the acuto sfogato soprano is an upper extension above F6.[6] Some pedagogues refer to these extreme high notes as the whistle register.

The soprano acuto sfogato is sometimes confused with the soprano sfogato, a singer (often mezzo-soprano) capable, by sheer industry or natural talent, of extending her upper range to encompass some of the coloratura soprano tessitura, though not the highest range above high F.

Music written for coloratura sopranos requires a lot of training and technical skill to master, making this type of vocal performance extra impressive to watch. Musicians characterize coloratura sound by lots of liveliness and expression.

Now, coloratura is a word used in classical music spaces. It categorizes a specific vocal type of a singer. Typically, coloratura relates to sopranos and occasionally mezzo-soprano voices. Sopranos have the highest ranges compared to other singing voices like alto, tenor, and bass.

Lyric coloratura sopranos have a much lighter voice compared to other coloratura sopranos. Light voices produce a less breathy sound because the singer does not add as much weight to their voice. Since lyric coloraturas sing lightly, they must expertly regulate airflow and have a strong technique.

Another kind of lyric coloratura is the coloratura leggero. These sopranos have a warmer tone than other lyric sopranos. However, this added warmth usually translates to a slightly lower range, reaching an E6.

A dramatic coloratura soprano sounds much different than a lyric soprano. This singer produces a darker tone, presenting itself in more powerful ways. Dramatic sopranos are less common but just as impressive.

One of the biggest factors vocalists consider regarding these coloratura categories is the effect aging has on the sounds our voices make. As we grow older, our voice changes. These changes can impact factors like vocal range.

When young, most coloratura sopranos have higher and lighter ranges. However, as they reach their late 20s, their voice matures. This vocal maturity could cause coloraturas to lose some flexibility and part of their uppermost range. These changes will not end their careers, however, because many coloratura sopranos adapt to their new voices.

Now you know what is a coloratura soprano, how incredible the coloratura soprano singers are, and the many variations. These singers effortlessly perform riffs and runs with an incredibly high vocal range.

This voice type is broken down into three subcategories: coloratura, lyric and dramatic. The first of these is characterised by agility; the coloratura mezzo-soprano will sing long lines of fast notes. This subcategory has a warm lower register and is suited to roles that make use of this register but also leap into the upper tessitura with highly ornamented, rapid passages.

The coloratura mezzo range generally extends from the G below C4 (G3) up to the B two octaves above C4 (B5), but some can go all the way up to high C (C6). What distinguishes such voices from sopranos is their extension into the lower register and the warmer tone.

Joyce DiDonato is a well-known coloratura mezzo-soprano, while Janet Baker almost defines the lyric mezzo. Dolora Zajick is an excellent example of a dramatic mezzo. Famous mezzos in pop include Beyonce and Miley Cyrus.

Sometimes an aria will start with a more plain A section followed by a contrasting B section and then a return to the A section, but this time it uses coloratura ornamentation to make it more interesting. Fast moving but short (staccato) notes and trills- notes that quiver back and forth between two notes- are also a big part of coloratura singing.

A classical singer is called a coloratura if she specializes in coloratura singing. This means she usually possesses a light, agile voice capable of singing very fast and using a wide vocal range. Coloraturas are the 'show offs' of the opera world.

Although coloratura can be sung by all singers, male and female alike, the most common type of coloratura singer is the lyric coloratura soprano. In addition to having flexibility in her voice, she also can sing very high. Some famous coloratura soprano arias include : 'Ah, Non Credea, Ah, Non Giunge' from Bellini's La Sonnambula (The Sleepwalker) and 'Caro Nome' from Verdi's Rigoletto.

But probably the most famous and most dramatic aria is sung by the rarer dramatic coloratura soprano. A dramatic coloratura has a heavier and darker voice than a lyric coloratura but still possesses surprising agility. The aria is called 'Der Hölle Rache, kocht in meinem Herzen', known as the Queen of the Night aria from Die Zauberflote (The Magic Flute) by Mozart. In its most famous motif, the soprano thrills audiences by leaping up to sing several fast staccato high E's above high C, before reaching one of the highest notes ever written for a singer - a high F above high C.

Another well-known coloratura singer is the coloratura mezzo-soprano made famous by the composer Giacomo Rossini. A mezzo-soprano is a lower voice than a soprano, but a coloratura mezzo can sing with the same speed and at times the same vocal range as a coloratura soprano. Some famous coloratura mezzo-soprano arias are 'Una voce poco fa' from Il barbiero di Seviglia (The Barber of Seville) and 'Non piu mesta' from La Cenerentola (Cinderella), both by Rossini.

Coloratura singing seems to come naturally to some singers. Nevertheless, most singers must work to attain this kind of agility and skill. This is usually accomplished first by learning the coloratura phrase at a slow tempo making sure to sing the right pitches.

Then when the singer sings up to speed, she must keep the voice lighter while emphasizing or accenting certain key notes: usually the first note of a phrase or group of notes. If the singer tries to sing each individual pitch of a coloratura passage too heavily the voice will soon become bogged down and the notes will start to mush together.

A virtuosic style of singing, coloratura adds flair and drama to a musical passage with its fast moving runs, trills and staccato passages that use the entire vocal range. Coloratura is thrilling to listen to, and its singers are popular with audiences because of the their astonishing skill. Coloratura singing requires great agility and usually a lighter quality of sound.

Most are aware that the fach system was created for opera singers. This causes some controversy when adapting it to pop music. Many believe that coloratura is a classical term, and should not be used in pop music.

A coloratura will go through extensive training to achieve their renowned agility. They will have a naturally light and agile voice that is harnessed and developed. A coloratura would also focus their time on the upper range of their head voice and agility, rather than on low notes and intense power. Due to all the training required, some believe this is why we cannot find a coloratura in pop music. They believe it is a result of classical training that a pop singer will simply not receive. 59ce067264

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