Contralto

Contralto is the lowest female voice type in classical singing. It is rarer than soprano or mezzo-soprano and is often associated with a dark, rich, and powerful timbre. In choral music, contralto and alto designate the same vocal part and are the lowest line for female voices. The term is most commonly used in classical contexts; in some modern genres, singers with comparable range may be described simply as low female voices.

Range and tessitura: The contralto typically sustains a low range, commonly from roughly F3 to F5, with a comfortable tessitura around G3–F4. Exceptional singers may extend below F3 or above F5. The voice often requires strength in the lower register and a rounded, secure upper register for occasional high notes.

Repertoire and roles: Historically contraltos have been less numerous in opera than sopranos and mezzo-sopranos, but they occupy important character parts and oratorio roles. Baroque and classical works sometimes assign prominent contralto parts in oratorios and cantatas, while Romantic and modern repertoire includes roles such as Erda in Wagner’s Das Rheingold or the Witch in Humperdinck’s Hänsel und Gretel.

Notable contraltos: Kathleen Ferrier, a British contralto renowned in the mid-20th century, and Marian Anderson, an American contralto celebrated for concert and recital performances.