Soprano Fächer[edit]

Lyrischer Koloratursopran / Koloratursoubrette[edit]

 English equivalent: coloratura soprano or lyric coloratura soprano

 Range: From about middle C to the F two-and-a-half octaves above middle C (F6)
 Description: Usually (but not always) a light soprano who has a high voice. Can often have small voices lacking the
richness and resonance of a dramatic soprano. Must be able to do fast acrobatics with easy high notes. Many have
extremely high ranges (with notes above the F of the "Queen of the Night"), but there are also singers in
this Fach who do not regularly sing higher than the high E-flat.
 Roles:
 Adina, L'elisir d'amore (Gaetano Donizetti)[1]
 Aminta, Die schweigsame Frau (Richard Strauss)[citation needed]
 Marie, La fille du régiment (Gaetano Donizetti)[1]
 Olympia, Les contes d'Hoffman (Jacques Offenbach)[2]
 Oscar, Un ballo in maschera (Giuseppe Verdi)[2]
 Zerbinetta, Ariadne auf Naxos (Richard Strauss)[2]
Dramatischer Koloratursopran[edit]

 English equivalent: Dramatic coloratura soprano

 Range: From about middle C to the F two-and-a-half octaves above middle C
 Description: The same as above, only with a more dramatic, rich voice. Often heavier and more lyrical than a
coloratura soprano. Must also be able to do fast vocal acrobatics and reach high notes, such as the F6 of the "Queen
of the Night".
 Roles:
 Abigalle, Nabucco (Giuseppe Verdi)[2]
 Donna Anna, Don Giovanni (Wolfgang Amadeus Mozart)[2]
 Elvira, I puritani (Vincenzo Bellini)[2]
 Fiordiligi, Così fan tutte (Wolfgang Amadeus Mozart)[2]
 Gilda, Rigoletto (Giuseppe Verdi)[2]
 Konstanze, Die Entführung aus dem Serail (Wolfgang Amadeus Mozart)[2]
 Leonora, Il trovatore (Giuseppe Verdi)[2]
  Norma, Norma (Vincenzo Bellini)[2]
 Odabella, Attila (Giuseppe Verdi)[2]
 The Queen of the Night, Die Zauberflöte (Wolfgang Amadeus Mozart)[2]
 Violetta, La traviata (Giuseppe Verdi)[2]

One must not mistake the Mozartian dramatic coloratura soprano with the Italian dramatic coloratura soprano. A singer
that sings Konstanze, Donna Anna or Fiordiligi can not necessarily sing the Italian dramatic coloratura parts, due to other
vocal demands. Imogene, Leonora and Violetta require a dramatic soprano voice and are most often sung by dramatic
sopranos with an agile voice that can easily produce coloratura and high notes. Roles like Norma, Lady Macbeth,
Odabella or Abigaille are good examples of Italian roles that are not necessarily a coloratura soprano (even though the
score calls for coloratura singing), but a full bodied dramatic soprano with a voice that can handle extreme dramatic
singing and that is flexible enough to sing coloratura. Giuseppe Verdi wrote many parts like this in his early years.

Deutsche Soubrette / Charaktersopran[edit]

 English equivalent: Soubrette

 Range: From about middle C to the C two octaves above middle C
 Description: A beautiful, sweet light lyric voice usually capable of executing florid passages similarly to that of a
coloratura. The range is usually intermediate between that of a coloratura and lyric soprano. Most sopranos start out
as soubrettes, changing fach as the voice matures.
 Roles:
 Barbarina, Le nozze di Figaro (Wolfgang Amadeus Mozart)[1]
 Papagena, Die Zauberflöte (Wolfgang Amadeus Mozart)[1]
 Susanna, Le nozze di Figaro (Wolfgang Amadeus Mozart)[3]
 Zerlina, Don Giovanni (Wolfgang Amadeus Mozart)[3]
Lyrischer Sopran[edit]

 English equivalent: lyric soprano

 Range: From about B below middle C to the C two octaves above middle C
 Description: A more supple soprano, capable of legato, portamento, and some agility; generally has a more soulful
and sensuous quality than a soubrette, who tends to be largely flirtatious and somewhat tweety. The voice is very
common; thus the purity and character of the basic timbre is essential. It is the "basic" soprano voice which is at
neither extremes of the soprano range of voices; it is not known for having particular vocal attributes such as power,
stamina, technical prowess, or agility. However, there are several lyric sopranos that possess a quantity of many of
 these vocal attributes, thus allowing them to sing a broader variety of roles. Nevertheless, the core of the true
fundamentally lyric voice does not encompass such traits. Innocence, vulnerability and pathos are usually conveyed
in the music written for the characters portrayed by the lyric soprano because of this endearing simplicity. This fach is
also famous because the voices usually remain especially fresh until advanced age.
 Roles:
 Gretel, Hänsel und Gretel (Engelbert Humperdinck)[3]
 Lauretta, Gianni Schicchi (Giacomo Puccini)[3]
 Liù, Turandot (Giacomo Puccini)[3]
 Micäela, Carmen (Georges Bizet)[3]
 Pamina, Die Zauberflöte (Wolfgang Amadeus Mozart)[3]
 Sophie, Werther (Jules Massenet)[3]
 Susanna, Le nozze di Figaro (Wolfgang Amadeus Mozart)[3]
Jugendlich dramatischer Sopran[edit]

 English equivalent: lyric dramatic soprano

 Range: From about A below middle C to the C two octaves above middle C
 Description: The Italian version of this fach is the spinto, which literally translated means pushed. However this is not
accurate in terms of these singers' vocal production. A lyric dramatic soprano has a lyric instrument that can also
create big sounds, cutting through an orchestral or choral climax. This voice is sometimes referred to as a "young" or
"youthful" dramatic soprano although this term doesn't necessarily refer to the singer's age but rather to the tonal
quality of the voice. This fach is more clearly delineated in the German system than in the American system.
Depending on the singer, however, this voice type can be versatile, as it lies at neither extreme of the soprano
spectrum. Spintos are occasionally able to take on lighter mezzo roles, or, conversely, lyric and even coloratura roles.
 Roles:
 Agathe, Der Freischütz (Carl Maria von Weber)[citation needed]
 Amelia, Un ballo in maschera (Giuseppe Verdi)[4]
 Cio-Cio San, Madama Butterfly (Giacomo Puccini)[4]
 Chrysothemis, Elektra (Richard Strauss)[4]
 Desdemona, Otello (Giuseppe Verdi)[4]
 Donna Elvira, Don Giovanni (Wolfgang Amadeus Mozart)[4]
 Elisabeth, Tannhäuser (Richard Wagner)[4]
 Elsa, Lohengrin (Richard Wagner)[4]
 Eva, Die Meistersinger von Nürnberg (Richard Wagner)[4]
 Giulietta, Les contes d'Hoffman (Jacques Offenbach)[4]
 Liza, The Queen of Spades (Pyotr Ilyich Tchaikovsky)
 Maddalena, Andrea Chénier (Umberto Giordano)[3]
 Magda Sorel, The Consul (Gian Carlo Menotti)[4]
  Marie, Wozzeck, (Alban Berg[3]
 Marie/Marietta, Die tote Stadt (Erich Wolfgang Korngold)[4]
 Mimi, La bohème (Giacomo Puccini)[4]
 Suor Angelica, Suor Angelica (Giacomo Puccini)[4]
Dramatischer Sopran[edit]

 English equivalent: full dramatic soprano

 Range: From about the A below middle C to the C two octaves above middle C
 Description: Characterized by their rich, full sounding voices, dramatic sopranos are expected to project across large
orchestras, a feat that requires a powerful sound. Dramatic sopranos are not expected to have the vocal flexibility of
the lighter Fächer. Although most dramatic sopranos have a darker, more robust quality to the voice, there are some
that possess a lighter lyrical tone. In these instances, however, the substantial amount of volume and endurance
normally associated with the dramatic soprano voice is still present. The darker voiced dramatic soprano may even
make a foray into the dramatic mezzo-soprano territory with great success.
 Roles:
 Ariadne, Ariadne auf Naxos (Richard Strauss)[4]
 Cassandre, Les Troyens (Hector Berlioz)[4]
 Leonore, Fidelio (Ludwig van Beethoven)[4]
 Marschallin, Der Rosenkavalier (Richard Strauss)[4]
 Minnie, La fanciulla del West (Giacomo Puccini)[4]
 Salome, Salome (Richard Strauss)
 Santuzza, Cavalleria rusticana (Pietro Mascagni)[4]
 Tosca, Tosca (Giacomo Puccini)[4]

Two roles mentioned above, Salome and the Marschallin, are relatively high dramatic sopranos and require that the
soprano can endure long stretches of very high tessitura. Richard Strauss himself said that Salome should be sung by
someone with the flexibility of a dramatic coloratura due to the high tessitura.

Hochdramatischer Sopran[edit]

 English equivalent: High dramatic soprano

 Range: From about the F below middle C to the C two octaves above middle C
 Description: A voice capable of answering the demands of operas of Wagner's maturity. The voice is substantial, very
powerful, and even throughout the registers. It is immense, stentorian and even larger than the voice of the "normal"
dramatic soprano. Although the two voices are comparable and are sometimes hard to distinguish between, this voice
has even greater stamina, endurance and volume than the former. The top register is very strong, clarion and bright.
Successful hochdramatische are rare.

Mezzo-soprano and Contralto Fächer[edit]

Koloratur-Mezzosopran[edit]

 English equivalent: coloratura mezzo-soprano

 Range: From about the G below middle C to the B two octaves above middle C
 Description: Found especially in Rossini's operas, these roles were written originally for altos with agility and secure
top notes. Today they are often played by mezzo-sopranos and sometimes even by sopranos. At times a lyric or
full lyric soprano with a flexible voice will assume the roles as written while a true coloratura soprano will sing the
same music transposed to a higher key.
 Roles:
 Angelina, La Cenerentola (Gioachino Rossini)[5]
 Isabella, L'italiana in Algeri (Gioachino Rossini)[5]
 Rosina, Il barbiere di Siviglia (Gioachino Rossini)[5]
 Tancredi, Tancredi, (Gioacchino Rossini)[5]
Lyrischer Mezzosopran / Spielalt[edit]

 Range: From about the G below middle C to the B two octaves above middle C
 English equivalent: lyric mezzo-soprano
 Description: A lyric soprano's instrument in a lower range; the resulting sound is less piercing, more lachrymose and
rather sensitive. The voices are similar, giving rise to the term 'short soprano' i.e. a soprano without the highest notes.
In fact, many lyric mezzos with strong extensions to their upper vocal registers make the transition to singing as
sopranos at some point in their careers.
 Roles:
 Cherubino, Le nozze di Figaro (Wolfgang Amadeus Mozart)[5]
 Dorabella, Così fan tutte (Wolfgang Amadeus Mozart)[5]
 Hänsel, Hänsel und Gretel (Engelbert Humperdinck)[5]
  Suzuki, Madama Butterfly (Giacomo Puccini)[5]
Dramatischer Mezzosopran[edit]

 English equivalent: dramatic mezzo-soprano

 Range: From about the G below middle C to the B two octaves above middle C
 Description: Dramatic mezzo-sopranos have ranges very similar to a dramatic soprano. The main difference is the
endurance and ease in which the two voice-types sing – a mezzo will concentrate singing most of the time in her
middle and low registers and will go up to notes like high B-flat only at the dramatic climax. Consequently, many
dramatic mezzo-sopranos have success in singing some dramatic soprano roles that are written with a
lower tessitura.
 Roles:
 Dido, Les Troyens (Hector Berlioz)[5]
 The Composer, Ariadne auf Naxos (Richard Strauss)[5]
 Dalila, Samson et Dalila (Camille Saint-Saëns)[5]
 Eboli, Don Carlo (Giuseppe Verdi)[5]
 Fricka, Das Rheingold, Die Walküre (Richard Wagner)[5]
 Gertrud, Hänsel und Gretel (Engelbert Humperdinck)[5]
 Klytaemnestra, Elektra (Richard Strauss)[5]
 Octavian, Der Rosenkavalier (Richard Strauss)[5]
 Ortrud, Lohengrin (Richard Wagner)[5]
Dramatischer Alt[edit]

 English equivalent: dramatic contralto

 Range: From about the F below middle C to the G or A two octaves above
 Description: Stylistically similar to the dramatic mezzo, just lower. Sings usually around the break between the chest-
voice and middle-voice. Many mezzos tried their luck in these roles, yet real altos fare better. A deep, penetrating low
female voice. This is a very rare voice type with a darker, richer sound than that of a typical alto.
Tiefer Alt[edit]

 English equivalent: low contralto

 Range: From about the E below middle C to the E two octaves above
 Description: A low female voice.
 Roles:
 Gaea, Daphne (Richard Strauss)[6]
 Geneviève, Pelléas et Mélisande (Claude Debussy)[6]

Tenor Fächer[edit]
Spieltenor / Tenor buffo[edit]

 English equivalent: (lyric) comic tenor. It is quite possible for a young Spieltenor to eventually work into the
lighter lyrischer Tenorcategory; the deciding factor will be the beauty of voice.
 Range: From about low C to the B an octave above middle C (C to b')
 Roles:
 Monostatos, Die Zauberflöte (Wolfgang Amadeus Mozart)[6]
 Pedrillo, Die Entführung aus dem Serail (Wolfgang Amadeus Mozart)[6]
Charaktertenor[edit]

 English equivalent: character tenor; must have good acting abilities.

 Range: From about the B below low C to the C an octave above middle C (B to c')
Lyrischer Tenor[edit]

 English equivalent: lyric tenor

 Range: From about low C to the C an octave above middle C (C to c')
 Roles:
 Alfredo, La traviata (Giuseppe Verdi)[7]
 Almaviva, Il barbiere di Siviglia (Gioachino Rossini)[7]
 Belmonte, Die Entführung aus dem Serail (Wolfgang Amadeus Mozart)[7]
 Don Ottavio, Don Giovanni (Wolfgang Amadeus Mozart)[7]
  Il Duca, Rigoletto (Giuseppe Verdi)[7]
 Lindoro, L'italiana in Algeri (Gioachino Rossini)[7]
 Nemorino, L'elisir d'amore (Gaetano Donizetti)[7]
 Ramiro, La Cenerentola (Gioachino Rossini)[7]
 Tamino, Die Zauberflöte (Wolfgang Amadeus Mozart)[7]
Jugendlicher Heldentenor[edit]

 English equivalent: lyric dramatic tenor also known as Spinto

 Range: From about low C to the C an octave above middle C (C to c')
 Description: A tenor with a dramatic extended upper range with the necessary brightness to come through the
orchestra's texture.
 Roles:
 Calaf, Turandot (Giacomo Puccini)[8]
 Canio, Pagliacci (Ruggero Leoncavallo)[8]
 Cavaradossi, Tosca (Giacomo Puccini)[8]
 Dick Johnson, La fanciulla del West (Giacomo Puccini)[9]
 Don Alvaro, La forza del destino (Giuseppe Verdi)[9]
 Don José, Carmen (Georges Bizet)[8]
 Florestan, Fidelio (Ludwig van Beethoven)[8]
 Idomeneo, Idomeneo (Wolfgang Amadeus Mozart)[8]
 Lohengrin, Lohengrin (Richard Wagner)[9]
 Manrico, Il trovatore (Giuseppe Verdi)[9]
 Max, Der Freischütz (Carl Maria von Weber)[9]
 Radamès, Aida (Giuseppe Verdi)[9]
 Siegmund, Die Walküre (Richard Wagner) [10]
Heldentenor[edit]

 English equivalent: heroic tenor or dramatic tenor

 Range: From about the B below low C to the C above middle C (B to c 1)
 Description: A full dramatic tenor with baritonal facility in the middle range and the brightness necessary to pierce a
thick orchestral texture.
 Roles:
 Otello, Otello (Giuseppe Verdi)[9]
 Siegfried, Der Ring des Nibelungen (Richard Wagner)[9]
 Tristan, Tristan und Isolde (Richard Wagner)[9]
 Tannhäuser, Tannhäuser (Richard Wagner)[9]
 Walther von Stolzing, Die Meistersinger (Richard Wagner)[9]

Baritone Fächer[edit]
Bariton / Baryton-Martin[edit]

 Range: From the low C to the B above middle C (C3 to B4)[11]

 Description: The Baryton-Martin, named after Jean-Blaise Martin (sometimes referred to as Light Baritone)[12] lacks the
lower G2–B2 range a heavier baritone is capable of, and has a lighter, almost tenor-like quality.
Lyrischer Bariton / Spielbariton[edit]

 Italian: baritono lirico

 English equivalent: lyric baritone
 Range: From about the B below low C to the A flat above middle C (B to a♭')
 Description: A sweet, mild sounding baritone voice, lacking harshness. Many lyric baritone roles call for some fioritura
and coloratura, a beautiful line, as well as a charismatic presence.
 Roles:
 Albert, Werther (Jules Massenet)[13]
 Belcore, L'elisir d'amore (Gaetano Donizetti)[9]
 Billy Budd, Billy Budd (Benjamin Britten)[9]
 Dottore Malatesta, Don Pasquale (Gaetano Donizetti)[9]
 Figaro, Il barbiere di Siviglia (Gioachino Rossini)[13]
 Guglielmo, Così fan tutte (Wolfgang Amadeus Mozart)[13]
 Papageno, Die Zauberflöte (Wolfgang Amadeus Mozart)[13]
Kavalierbariton[edit]

 Italian: baritono cantabile

 English equivalent: A metallic voice, that can sing both lyric and dramatic phrases, a manly noble baritonal color;
most on-stage roles in this Fach call for good looks. Not quite as vocally powerful as the Verdi baritone
or Charakterbariton, who is expected to have a powerful, perhaps muscular or physically large, appearance on stage.
 Range: From about the A below low C to the G♯ above middle C
 Description: Harsher, more pronounced than the lyric baritone.
 Roles:
 Conte Almaviva, Le nozze di Figaro (Wolfgang Amadeus Mozart)[13]
 Count, Capriccio (Richard Strauss)[13]
 Don Giovanni, Don Giovanni (Wolfgang Amadeus Mozart)[13]
 Escamillo, Carmen (Georges Bizet)[13]
 Ford, Falstaff (Giuseppe Verdi)[13]
 Lescaut, Manon Lescaut (Giacomo Puccini)[13]
 Lord Enrico Ashton, Lucia di Lammermoor (Gaetano Donizetti)[13]
 Marcello, La bohème (Giacomo Puccini)[13]
 Onegin, Eugene Onegin (Pyotr Ilyich Tchaikovsky)[13]
 Rodrigo de Posa, Don Carlo (Giuseppe Verdi)[13]
 Sharpless, Madama Butterfly (Giacomo Puccini)[13]
 Valentin, Faust (Charles Gounod)[13]
 Wolfram von Eschenbach, Tannhäuser (Richard Wagner)[13]
Charakterbariton[edit]

 Italian: baritono verdiano

 English equivalent: Verdi baritone
 Range: From about the A below low C to the G♯ above middle C
 Description: A voice particularly effective with passages in its higher reaches. A high tessitura vis-a-vis the range
extremes. A Verdi baritone refers to a voice capable of singing consistently and with ease in the highest part of the
baritone range, sometimes extending up to the C above middle C, or "High C." The Verdi baritone will generally have
a lot of squillo, or "ping"
 Roles:
 Scarpia, Tosca (Giacomo Puccini)[14]
 Wozzeck (title role) (Alban Berg)[14]
Heldenbariton[edit]
 Italian: baritono drammatico
 Range: From about the G below low C to the F♯ above middle C
 Description: Means 'heroic baritone'. In the German opera houses a true Heldenbariton is a prized possession: a
singer with exciting power and an authoritative mature sound and production.
 Roles:
 Alfio, Cavalleria rusticana (Pietro Mascagni)[14]
 Amonasro, Aida (Giuseppe Verdi)[14]
 Ezio, Attila (Giuseppe Verdi)[14]
 Gérard, Andrea Chénier (Umberto Giordano)[14]
 Iago, Otello (Giuseppe Verdi)[14]
 Jack Rance, La fanciulla del West (Giacomo Puccini)[14]
 Jochanaan, Salome (Richard Strauss)[14]
 Macbeth (title role) (Giuseppe Verdi)[14]
 Michele, Il tabarro (Giacomo Puccini)[14]
 Don Pizarro, Fidelio (Ludwig van Beethoven)[13]
 Simon Boccanegra (title role) (Giuseppe Verdi)[14]
 Telramund, Lohengrin (Richard Wagner)[14]
 Tonio, Pagliacci (Ruggero Leoncavallo)[14]
Lyrischer Bassbariton/Low lyric baritone[edit]

 English equivalent: lyric bass-baritone

 Range: From about the G below low C to the F♯ above middle C
 Description: The bass-baritone's required range can vary tremendously based on the role, with some less demanding
than others. Some bass-baritones are baritones, while others are basses.
Dramatischer Bassbariton/Low dramatic baritone[edit]
 English equivalent: dramatic bass-baritone
 Range: From about the G below low C to the F♯ above middle C

Bass Fächer[edit]
Basso cantante/Lyric bass-bariton/High lyric bass[edit]

 English equivalent: lyric bass-baritone

 Range: From about the E below low C to the F above middle C (E to f')
 Basso cantante means 'singing bass'.[15]
Hoher Bass/Dramatic bass-baritone/High dramatic bass[edit]

 English equivalent: dramatic bass-baritone

 Range: From about the E below low C to the F above middle C (E to f')
Jugendlicher Bass[edit]

 English equivalent: young bass

 Range: From about the E below low C to the F above middle C (E to f')
 Description: A young man (regardless of the age of the singer).
Spielbass/Bassbuffo/Lyric buffo[edit]

 English equivalent: lyric comic bass

 Range: From about the E half an octave below low C to the F above middle C (E to f')
 Roles:
 Don Alfonso, Così fan tutte (Wolfgang Amadeus Mozart)[16]
 Don Pasquale, Don Pasquale (Gaetano Donizetti)[16]
 Dottor Dulcamara, L'elisir d'amore (Gaetano Donizetti)[16]
 Don Bartolo, Il barbiere di Siviglia (Gioachino Rossini)[16]
 Don Magnifico, La Cenerentola (Gioachino Rossini)[16]
 Leporello, Don Giovanni (Wolfgang Amadeus Mozart)[16]
 The Sacristan Tosca (Giacomo Puccini)[16]
Schwerer Spielbass/Dramatic buffo[edit]

 English equivalent: dramatic comic bass

 Range: From about the C two octaves below middle C to the F above middle C (C to f')
 Roles:
 Baron Ochs auf Lerchenau, Der Rosenkavalier (Richard Strauss)[16]
 Daland, Der fliegende Holländer (Richard Wagner)[16]
 Méphistophélès, Faust (Charles Gounod)[16]
Lyrischer seriöser Bass[edit]

 English equivalent: low bass. Italian: basso profondo.[17]

 Range: From about the C two octaves below middle C to the F above middle C (C to f')
 Basso profondo is the lowest bass voice type. According to J. B. Steane in Voices, Singers, and Critics, the basso
profondo voice "derives from a method of tone-production that eliminates the more Italian quick vibrato. In its place is
a kind of tonal solidity, a wall-like front, which may nevertheless prove susceptible to the other kind of vibrato, the
slow beat or dreaded wobble."
 Roles:
 Don Bartolo, Le nozze di Figaro (Wolfgang Amadeus Mozart)[17]
 Fiesco, Simon Boccanegra (Giuseppe Verdi)[18]
 Padre Guardiano, La forza del destino (Giuseppe Verdi)[18]
 Pimen, Boris Godunov (Modest Mussorgsky)[17]
 Rocco, Fidelio (Ludwig van Beethoven)[17]
  Sarastro, Die Zauberflöte (Wolfgang Amadeus Mozart)[17]
 Sir Morosus, Die schweigsame Frau (Richard Strauss)[17]
 Sparafucile, Rigoletto (Giuseppe Verdi)[18]

Dramatischer seriöser Bass[edit]

 English equivalent: dramatic low bass. Dramatic basso profundo is a powerful basso profundo voice.[17]
 Range: From about the C two octaves below middle C to the F above middle C (C to f')
 Roles:
 Il Commendatore (Don Pedro), Don Giovanni (Wolfgang Amadeus Mozart)[18]
 Fafner, Das Rheingold, Siegfried (Richard Wagner)[18]
 The Grand Inquisitor, Don Carlos (Giuseppe Verdi)[18]
 Gurnemanz, Titurel, Parsifal (Richard Wagner)[18]
 Heinrich, Lohengrin (Richard Wagner)[18]
 Marke, Tristan und Isolde (Richard Wagner)[18]