While attending several First Round Regionals of Classical Singer’s High School Competition this past spring, I heard some fine singing from well-prepared students singing age-appropriate repertoire—with a few exceptions. One ambitious young singer attempted “Der Hölle Rache” from The Magic Flute. She could hit all of the notes, including those high Fs that are many a soprano’s favorite, but her voice was simply too young to successfully navigate such difficult repertoire.
Watching this young singer brought back a flood of memories of another ambitious, young singer I knew quite well: me. I still shake my head in dismay at one memory in particular. As a senior in high school—preparing for upcoming competitions, scholarship opportunities, and university auditions—I consulted with my voice teacher about possible repertoire choices. She offered me several options—but in my naive mind none of them seemed nearly challenging, difficult, or flashy enough, so I took it upon myself to find the right song for me.
After listening to all of my favorite recordings, I finally settled on “Un bel dì” from Madama Butterfly. It just didn’t get better than the high Bb at the end, and the music was so beautiful! I could sing all of the notes on the page, the Italian was manageable, and I certainly felt the passion of the music. As you can imagine, when I told my teacher, she vehemently disagreed with my selection and did her best to steer me in another direction, but I would not be deterred.
Many years later, I deeply share my teacher’s chagrin at my choice of repertoire. Not only was the piece absolutely beyond my abilities as a 17-year-old, it was also completely wrong for my voice type, both then and forever after. At 17 I had not yet learned about the distinction between coloratura, soubrette, lyric, and dramatic sopranos. I didn’t know I would never sing certain roles. I didn’t know I would most likely never be a dramatic soprano!
In the years that followed, I received a good education in the Fach system and the importance of correct voice classification. I learned that choosing correct repertoire requires so much more than simply looking at the highest and lowest notes on the page. Of course, I’m preaching to the choir—most of you reading this are well versed in voice classification and are shaking your head right along with me at this disclosure of the follies of my youth.
Even when you understand the importance of and need for classification, however, the Fach system—the oldest and most revered of voice classification systems—can be a source of frustration. Determining your Fach can be a difficult and daunting task. Every voice is different and unique, and doesn’t always fit neatly into the classification system. What if you’ve thought of yourself as one voice category for years, and discover you’ve either been put in the wrong category or your voice has changed? Suddenly, you must learn an entirely new repertoire, as well as change the way you view yourself and your instrument.
To make things even more complex, issues that may seem to indicate voice misclassification can often be the result of poor technique instead. More than range, voices are classified according to passaggio points and vocal color or timbre. A singer must have a solid vocal technique that allows the natural lift points of the first and second passaggi to emerge, as well as the natural vocal color. Only then can a voice be classified accurately.
CS contributor and singer Rachel Antman found herself faced with many of these dilemmas, and set out to get the skinny on Fachs. In this issue, she shares information gleaned from several industry experts about the ins and outs of voice classification and the Fach system. Learn the telltale signs of misclassification, how to avoid being boxed in by the system, and how to most easily make the switch from one Fach to another when necessary.
Eric Halfvarson, this month’s cover story, is no stranger to the pros and cons of voice classification. As a bass with a large voice, he discusses how patience was critical during his early career. He had to wait for his voice to mature into the repertoire that is right for him. In addition, bass roles are often smaller roles, which means less money. Halfvarson, with characteristic charm and humor, speaks candidly about the payroll realities for basses.
Knowledge, coupled with time and perspective, enlightened me to the errors of my ways as an overzealous singer. As you evaluate the voice classification of your own voice, or of the voices of those you teach or coach, may knowledge, time, and perspective lead you to healthy, beautiful, and fulfilling singing.
