The German Fach system (German pronunciation:[fax]; literally "compartment" or "subject of study", here in the sense of "vocal specialization") is a method of classifying singers, primarily opera singers, according to the range, weight, and color of their voices. It is used worldwide, but primarily in Europe, especially in German-speaking countries and by repertory opera houses.[1]
The Fach system is a convenience for singers and opera houses. It prevents singers from being asked to sing roles which they are incapable of performing, or roles for which their vocal timbre is dramatically unsuited. Opera companies keep lists of available singers by Fach so that when they are casting roles for an upcoming production, they do not inadvertently contact performers who would be inappropriate for the part.[2]
Below is a list of Fächer (German pronunciation:[ˈfɛçɐ]), their ranges as written on sheet music, and roles generally considered appropriate to each. When two names for the Fach are given, the first is in more common use today. Where possible, an English and/or Italian equivalent of each Fach is listed; however, not all Fächer have ready English or Italian equivalents. Note that some roles can be sung by more than one Fach and that many singers do not easily fit into a Fach: for instance some sopranos may sing both Koloratursopran and Dramatischer Koloratursopran roles. In addition, roles traditionally more difficult to cast may be given to a voice other than the traditional Fach. For instance, the "Queen of the Night" and "Violetta" are more traditionally dramatic coloratura roles, but it is difficult to find a dramatic coloratura to sing it (particularly given the extreme range). Therefore, these roles are often sung by a lyric coloratura.
Range: From about middle C (C4) 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♭6.
Range: From about middle C (C4) to the F two and a half octaves above middle C (F6)
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".
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.
Range: From about middle C (C4) to the C two octaves above middle C (C6)
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.
Range: From about B below middle C (B3) to the C two octaves above middle C (C6)
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.
Range: From about A below middle C (A3) to the C two octaves above middle C (C6)
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.
Range: From about the A below middle C (A3) to the C two octaves above middle C (C6)
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.
Range: From about the F below middle C (F3) to the C two octaves above middle C (C6)
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.
Range: From about the G below middle C (G3) to the B two octaves above middle C (B5)
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.
Description: A lyric mezzo 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.
Range: From about the G below middle C (G3) to the B two octaves above middle C (B5)
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.
Range: From about the F below middle C (F3) to the G or A two octaves above (G–A5)
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.
English equivalent: (lyric) comic tenor. It is quite possible for a young Spieltenor to eventually work into the lighter lyrischer Tenor category; the deciding factor will be the beauty of voice.
Range: From about low C (C3) to the B an octave above middle C (B4)
Range: From the low C (C3) to the B above middle C (B4)[23]
Description: The Baryton-Martin, named after Jean-Blaise Martin (sometimes referred to as Light Baritone)[24] lacks the lower G2–B2 range a heavier baritone is capable of, and has a lighter, almost tenor-like quality.
Lyrischer Bariton / Spielbariton
Italian: baritono lirico
English equivalent: lyric baritone
Range: From about the B below low C (B2) to the A♭ above middle C (A♭4)
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.
Range: From about the A below low C (A2) to the G♯ above middle C (G♯4)
Description: 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 and has a harsher, more pronounced than the lyric baritone or Spielbariton.
Range: From about the A below low C (A2) to the G♯ above middle C (G♯4)
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 (C5 or high C). The Verdi baritone will generally have a lot of squillo, or "ping"
Range: From about the G below low C (G2) to the F♯ above middle C (F♯4)
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.
Range: From about the G below low C (G2) to the F♯ above middle C (F♯4)
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
English equivalent: dramatic bass-baritone
Range: From about the G below low C (G2) to the F♯ above middle C (F♯4)
Range: From about the C two octaves below middle C (C2) to the F above middle C (F4)
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."
McGinnis, Pearl Yeadon (2010). Willis, Marith McGinnis (ed.). The opera singer's career guide: understanding the European Fach system. Scarecrow Press. ISBN978-0-8108-6915-8.
