fach

Although we often see a division in the Lyric Tenor Fach, there are technically only five Fächer for the tenor voice. Here they are presented in the two main divisions, the Spiel- and Charakterfächer and the Seriöserfächer. Follow the links to both sound examples and an extensive listing of typical roles and audition arias. 

 

Part one: Spiel- und (and) Charakterfach: [ʃpi:l ʊnt ka.’ʁak.tɐ  ‘fɛ:.çɐ]

SPIELTENOR / TENORBUFFO [ʃpi:l.te.’no:ʁ  te.’no:ʁ.’bʊ.fo] (c to b’)

Buffo Tenor

A smaller, expressive voice and an excellent actor.

The comic tenor in the German-speaking countries is a key figure in the opera and operetta. He has much more to do than the so-called comprimario in the American and Italian opera houses. Indeed, many people will include in the category much of what is generally considered the lighter repertoire of Lyrischertenor Fach. Language and acting skills are often more important than singing ability. His popular roles include Pedrillo in Die Entführung aus dem Serail, Jacquino in Fidelio, David in Die Meistersinger von Nürnberg, and Vašek in The Bartered Bride (Czech: Prodaná nevěsta). In many houses, the tenor who sings these roles may also be asked to sing Almaviva or Nemorino. It is quite possible for a young Spieltenor to eventually work into the lighter Lyrischertenor Fach, the deciding factor will be the beauty of the voice and is physical appearance.

Singers: Gerhard Unger, Peter Schreier.

Examples: Gerhard Unger in Der Rosenkavalier;  Peter Schreier in Zar und Zimmerman.
Spieltenor roles and arias

CHARAKTERTENOR [ka.’ʁak.tɐ.te.’no:ʁ] (B to b’)

Zwischenfach voice with fine characterization ability.

This voice type is a product of the German theater tradition. It is large with plenty of metal and capable of clear declamation. The Charaktertenor must have the acting ability of a Spieltenor and often the cutting power of the Heldentenor. Along with a number of smaller roles such as Dr. Cajus in Falstaff, Spalanzani in Les contes d’Hoffmann, and Gerardo in Gianni Schicchi, The Charaktertenor has the task of portraying Herodes in Salome and Loge in Das Rheingold.

Charaktertenor roles

 

Part two: Seriöser Fächer [ze.ʁi.’ø:.zɐ ‘fɛ:.çɐ]

LYRISCHER (HOHER) TENOR [‘ly:.ʁɪ.ʃɐ  ‘ho:.ɐ  te.’no:ʁ] (c to c”)

Light Lyric Tenor

A supple, flexible voice with a beautiful mellow quality and extended top range.

The Fach of Lyrischer Tenor can be divided into two separate categories: the Lyrischertenor (a tenor leggiero) and the higher Italienischertenor (America’s lyric tenor). In contract negotiations, this is most often considered one Fach. Other problems arise with the term Italienischertenor as it is often reserved for the heavier Italian spinto, the German Judendlicher-Heldentenor. The true Lyrischertenor must have a youthful, handsome appearance. His repertoire ranges from Nemorino to Faust and containing all the Mozart and Rossini tenors, the lighter Verdi roles of like the Duke in Rigoletto and Alfredo in La traviata and Rudolfo in La bohème as well as a myriad of smaller roles. When the Fach is divided, the Lyrischertenor takes the lighter roles and the Italienischertenor the heavier. The audition aria list has been divided into two parts but should be thought of as a whole as the singer of the Lyrischertenor Fach is often required to sing all of the repertoire listed. For auditioning, choose your repertoire according to the weight of your voice, leaving off either the lighter or heavier works as the case may be.

Singers: Francesco Araiza, Tito Schipa, Bruce Ford, Chris Merritt, Rockwell Blake, Frank Lopardo, and Stanford Olsen

Example: William Matteuzzi and Francesco Araiza in La Cenerentola.
Lyrischer Tenor roles and arias

ITALIENISCHER TENOR [i.ta.’lje.nɪ.ʃɐ  te.’no:ʁ] (c – c”)

Full Lyric Tenor

Singers: Alfredo Kraus, Richard Tauber, Fritz Wunderlich, Gosta Winbergh, David Rendall, Anthony Rolfe Johnson, Jose Carreras, and  Neil Shicoff.

Examples: Fritz Wunderlich in Die Zauberflöte; Nicolai Gedda in Lucia di Lammermoor.
Lyrischer Tenor roles and arias

JUGENDLICHER HELDENTENOR [‘ju:.gənt.lɪ.çɐ  ‘hɛl.dən.te.’no:ʁ] (c’ to c”)

Heavy Spinto Tenor

A metallic voice with noble, tenoral quality, that can sing both lyric and dramatic passages.

This Fach is the dividing line between the lyric and dramatic tenor voice. It is quite conceivable that someone would sing all the roles of the Lyrischertenor Fach but it is unlikely that anyone would sing both the Lyrischertenor and Jugendlicher-Heldentenor Fächer. The voice demanded is one which has great metal and ring, a secure top and a considerable amount of staying power. This category includes the heavier Italian and French tenor roles of Radames in Aïda, Manrico in Il trovatore, Cavaradossi in Tosca, Don Jose in Carmen, and Canio in Pagliacci. The key to understanding the color and temperament of the German Jugendlicher-Heldentenor is the role of Max in Der Freischütz. Jugendlicher-Heldentenor translates as youthful heroic tenor which is an accurate definition of this Fach as it indicates someone, who, like a good Max may well develop into a Tristan or Florestan. In the German-speaking theater, the color of the voice is likely to be more slanted toward the German metallic singing than the Italian sound of the heavy spinto tenor. Both Walther in Die Meistersinger von Nürnberg and Lohengrin belong to this Fach. There must be an implication of a potential God-character to the tenor singing many of these roles.

Singers: Nicolai Gedda, Franco Corelli, Enrico Caruso, Beniamino Gigli, Jussi Bjorling, Giuseppe di Stefano, Carlo Bergonzi, Franco Corelli, Jan Peerce, Richard Tucker, Luciano Pavarotti, and Placido Domingo.

Examples: Nicolai Gedda in Oberon; Franco Corelli in Aida.
Jugendlicher Heldentenor roles and arias

HELDENTENOR (earlier called Tenorbariton) [‘hɛl.dən.te.’no:ʁ  te.’no:ʁ.’ba:.ʁi.tɔn] (B to b’)

Dramatic (Wagnerian) Tenor

A large metallic voice with a baritonal quality with well developed middle and low registers.

Although many tenors of the Jugendlicher-Heldentenor Fach move on to sing the roles of the true Heldentenor, it remains a true specialty Fach that demands an impressive and distinctive dramatic quality with plenty of size and metal and a commanding appearance.

Singers: Jon Vickers, Lauritz Melchior, Wolfgang Windgassen, James King, Siegfried Jerusalem, Gary Lakes, and Ben Heppner.

Examples: Wolfgang Windgassen in Parsifal; Jon Vickers in Fidelio.
Heldentenor roles and arias

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Helmholz notation:

 

(This article is the sixth part in the series on the German Fach System and is based on information derived from Rudolf Kloiber’s “Handbuch der Oper”, 9th edition, Deutschen Taschenbuch Verlag. Read the first part of this series here.)

There are four vocal categories for the lower female voice in the Fach system. Here they are separated into the Seriöserfächer and the Spiel- and Charakterfächer. Follow the links to an extensive listing of typical roles and audition arias.

 

Part one: Spiel- und (and) Charakterfach: [ʃpi:l ʊnt ka.’ʁak.tɐ  ‘fax]

Spielalt (Lyrischer Mezzosopran) [‘ʃpi:l.’alt  ‘ly:.ʁɪ.ʃɐ.’mɛd.zo.so.’pʁan] (f–b”):

• A supple voice capable of fine characterization; a versatile actress.

Although the name Lyrischer Mezzosopran would lead one to believe that this Fach belongs to the Seriöser Fach, the older name of Spielalt better describes his voice in relation to the other vocal categories. She is the mezzo counterpart of the Soubrette. Her voice is a flexible, mellow instrument lacking the metallic ring and broad legato line. Her vocal color in the German theater can often be rather light, sounding much like a soprano. She should look good in pants and be willing to sing quite a few roles of lesser importance.

The important roles for a Lyrischer Mezzosopran are Cherubino in Le nozze di Figaro, the Komponist in Ariadne auf Naxos, and Rosina in Il barbiere di Siviglia. Although a Lyrischer Mezzosopran with a fuller voice may use the Carmen arias in audition, she rarely sings this role in a full production.

Singers: Frederica von Stade, Lucia Valentini-Ferrani,  Cecilia Bartoli, Jennifer Larmore, Suzanne Mentzer, and Theodora Hanslowe.

Examples: Frederica von Stade in Semiramide; Lucia Valentini-Ferrani in La Cenerentola.
Spielalt roles and arias.

 

Part two: Seriöser Fächer [ze.ʁi.’ø:.zɐ ‘fɛ:.çɐ]

Dramatischer Mezzosopran [dʁa.’ma:.tɪ.ʃɐ  ‘mɛd.zo.so.’pʁan] (g–b” and c”‘):

• Flexible, metallic Zwischenfach voice with a dark color and excellent top voice that often matures into the Hochdramatic Fach.

The Dramatischer Mezzosopran sings some of the meatiest roles in all of opera. The title role in Carmen, Eboli in Don Carlo, Amneris in Aïda, Octavian in Der Rosenkavalier, and Fricke in Die Walküre are hers. Being a Zwischenfach voice means she is capable of both a long lyric lines as well as dramatic moments. Her roles demand great physical beauty and vocal power, and the ability to hold the stage alone with authority.

Singers: Fiorenza Cassotto, Christa Ludwig, Rise Stevens, Giulietta Simionato, Tatiana Troyanos, Maria Ewing, Marilyn Horne.

Examples: Fiorenza Cassotto in Le nozze di Figaro; Christa Ludwig in Des Knaben Wunderhorn.
Dramatischer Mezzosopran roles and arias

Dramatischer Alt [dʁa.’ma:.tɪ.ʃɐ  ʔalt] (g-b”):

• Flexible, metallic voice with both a well-developed high and low voice; capable of dramatic penetration.

The Dramatischeralt is the true dramatic among the lower women’s voices and often sings the roles of the Tieferalt. It is a Fach generally reserved for the more mature singer. In addition to the dramatic roles of Ulrica in Un ballo in maschera, Azucena in Il trovatore, and Herodias in Salome, she sings many smaller roles demanding fine characterization.

Singers: Francis Bible, Christa Ludwig, Brigitte Fassbander, Waltraud Meier, Ebe Stignani, Fedora Barbieri, Fiorenza Cassotto, Shirley Verrett, Grace Bumbry, and Dolora Zaxick.

Examples: Francis Bible in The Ballad of Baby Doe.
Dramatischer Alt roles and arias.

Tiefer Alt (Kontra-Alt) [‘ti:.fɐ  ʔalt  ‘kɔn.tʁə ʔalt] (f-a”):

• Full, rich voice with a comfortable low voice.

This is a rather special category and an important one. While it can include the great roles listed for the Dramatischeralt, it contains many roles demanding an extensive low voice and a mature appearance. In this Fach we find the roles of Zita in Gianni Schicchi, Erda in Das Rheingold, Dame Quickly in Falstaff and the Dritte Dame (Third Lady) in Die Zauberflöte.

Singers: Florence Quivar, Kathleen Ferrier.

Example: Marga Hoffgen in Das Rheingold.
Tiefer Alt roles and arias.

 

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Helmholz notation:

 

(This article is the fifth part in the series on the German Fach System and is based on information derived from Rudolf Kloiber’s “Handbuch der Oper”, 9th edition, Deutschen Taschenbuch Verlag. Read the first part of this series here.)

There are eight different categories for the soprano voice in the Fach system separated into two main divisions, the Spiel- and Charakterfächer and the Seriöserfächer. Follow the links to both sound examples and an extensive listing of typical roles and audition arias. 

Part two: Seriöser Fächer [ze.ʁi.’ø:.zɐ ‘fɛ:.çɐ]

Lyrischer (Hoher) Sopran [‘ly:.ʁɪ.ʃɐ  ‘ho:.ɐ  so.’pʁa:n] (c’-c”‘):

• A supple voice with a beautiful mellow quality and a noble line.

Lyrischer (lyric) here does not mean light but rather the ability to sustain lines with more voice and full legato line than the singers of the spiel Fach. The important roles in this Fach are Pamina in Die Zauberflöte, Mimi in La bohème, Rosalinda in Die Fledermaus, and Michaela in Carmen. Regarding appearance, the Lyrischersopran must have a somewhat softer, more sympathetic personality than the Soubrette; she should be attractive, appealing, and very feminine on stage. Although it is unlikely for the mature Lyrischersopran to move into a heavier Fach (the voice lacks the metallic ring) a young singer of the Jugendlicher-dramatischersopran Fach often will sing some of the roles of the Lyrischersopran repertoire.

Example: Elizabeth Schwarzkopf in Le nozze di Figaro.
Lyrischer (Hoher) Sopran roles and arias

Dramatischer Koloratursopran [dʁa.’ma:.tɪ.ʃɐ  ko.lo.ʁa.’tu:ɐ̯.zo.’pʁa:n] (c’-f”):

• A flexible voice with an extended upper range and capable of dramatic outbursts.

This is a very special Fach and one which is not easily understood by Americans. The ability to sing coloratura passages is important, as it is with the Koloratursoubrette, but the voice must have the beautiful line of the Lyrischersopran as well as being capable of dramatic outbursts. Typical roles include Fiordiligi in Così fan tutte, Violetta in La Traviata and Kostanza in Die Entführung aus dem Serail. The role of the Königin der Nacht in Die Zauberflöte is a specialty role and is not necessarily sung by all singers of this Fach. This voice is also usually asked to sing the Italian roles which include heavier music for the coloratura voice. The type of character portrayed is often a loftier figure than that presented by the Lyrischersopran or the Soubrette. It is possible for a singer of the Dramatischerkoloratursopran Fach to move into the true Lyrischersopran Fach later in her career if her vocal and physical size permit it.

Singers: Christina Deutekom, Joan Sutherland, June Anderson, Ruth Ann Swenson, Edita Gruberova, and Mariella Devia. Maria Callas and Montserrat Caballe also sang this Fach during their careers.

Example: Christina Deutekom in Die Zauberflöte.
Dramatischer Koloratursopran roles and arias

Jugendlich-dramatischer Sopran [‘ju:.gənt.lɪ.çɐ  dʁa.’ma:.tɪ.ʃɐ  so.’pʁa:n] (c’-c”‘):

• A voice with a good line, power and a good deal of metal; capable of moments of dramatic outbursts.

This is the Fach which is most important for the German repertoire, yet we do not even have an equivalent English name which is in common usage. It is best thought of as a heavy spinto soprano. The most important German roles include Agathe in Der Freischütz, Elizabeth in Tannhäuser, and Elsa in Lohengrin. The appearance of this person must be beautiful on stage, although, with a few exceptions, the roles for this voice are somewhat static, and do not require the acting ability of the Soubrette. They do, however, require great emotional intensity, and the ability to sing long vocal lines in heavy ensembles without becoming tired or strained. This is truly a young-dramatic voice that often moves into the dramatic Fach later in her career.

Singers: Leontine Price, Gwyneth Jones, Callas, Caballe, Tebaldi, Zinka Milanov, Leontyne Price, Aprile Millo, Susan Dunn, Deborah Voigt, Alessandra Marc, and Sharon Sweet. Cheryl Studer, and Carol Vaness sing roles in the lyric, spinto and coloratura repertories.

Example: Zinka Milanov in Il trovatore.
Jugendlich-dramatischer Sopran roles and arias

Dramatischer Sopran [dʁa.’ma:.tɪ.ʃɐ   zo.’pʁa:n] (b-c'”):

• A large, metallic voice with great dramatic penetrating power.

The dramatic soprano in the German-speaking opera houses has the responsibility of performing the big Verdi roles, such as Aïda, Amelia in Un ballo in maschera, and Leonora in La forza del destino. She also sings the title roles in Ariadne auf Naxos, Tosca, and Fidelio. Singing ability takes precedence over visual effectiveness in this Fach, but she should be a person capable of great emotional depth. Her vocal quality is dominated by an intense metallic ring and great volume.

Singers: Eva Marton, Birgit Nilsson, Hildegard Behrens, Eva Marton

Example:  Sena Jurinac in Don Carlo.
Dramatischer Sopran roles and arias

Hochdramatischer Sopran [‘ho:x.dʁa.’ma:.tɪ.ʃɐ   zo.’pʁa:n] (g-c”‘):

• Large, heavy and projecting voice with a well-developed middle and low registers.

We generally include much of the repertoire of the dramatic soprano when we think of this Fach. However, in the German theater system, it is reserved for only the extremely taxing roles, such as Isolde, Brünnhilde, and Elektra. This woman should be big vocally and physically. The ability to sustain extremely long vocal lines over a full orchestra is the first prerequisite. This is a Fach only arrived at after years of professional singing.

Singers: Birgit Nilsson, Dame Eva Turner, Eve Marton, Ghena Dimitrova, Gwyneth Jones, Linda Kelm, Kirsten Flagstad

Example: Birgit Nilsson in Götterdämmerung.
Hochdramatischer Sopran roles and arias

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Helmholz notation:

 

(This article is the fourth part in the series on the German Fach System and is based on information derived from Rudolf Kloiber’s “Handbuch der Oper”, 9th edition, Deutschen Taschenbuch Verlag. Read the first part of this series here.)

There are eight different categories for the soprano voice in the Fach system separated into two main divisions, the Spiel- and Charakterfächer and the Seriöserfächer. Follow the links to both sound examples and an extensive listing of typical roles and audition arias.

Part one: Spiel- and Charakterfächer: [ʃpi:l ʊnt ka.’ʁak.tɐ  ‘fɛ:.çɐ]

Spielsopran (Deutsche Soubrette) [‘ʃpi:l.so.’pʁa:n  ‘dɔ:ʏ.ʧə  zu.’brɛ.tə] (c’ to c”’)

• A light, supple voice; petite physical appearance; a versatile actress.

The Soubrette is the operatic equivalent of the Broadway ingénue. It is important that a singer of this category have an excellent command of language since many of the roles for this voice include extensive dialogue and/or recitative in both operetta and opera. Her voice must be flexible but it is not necessary to have the extreme high notes. The voice should be fairly full in the middle since she generally sings the middle voice in ensembles. The most typical role for the Deutsche Soubrette is Ännchen in Der Freischütz. She must look like a younger sister and have a lively personality, yet her voice must be strong enough to balance Agathe’s in the ensembles. Other typical roles for the Soubrette include Marzelline in Fidelio, Despina in Così fan tutte, and Musetta in La bohème. She might also sing many of the roles which are listed in the Lyrischer Koloratursopran Fach, provided her voice as the high notes and enough flexibility.

Example:  Ileana Cotrubas in La Calisto.
Spielsopran (Soubrette) roles and arias

Lyrischer Koloratursopran (Kolortursoubrette) [‘ly:.ʁɪ.ʃɐ  ko.lo.ʁa.’tu:ɐ̯.zo.’pʁa:n  ko.lo.ʁa.’tu:ɐ.zu.’bʁɛ.tə] (c’-f'”)

• Very flexible, mellow voice with an extended top voice.

The main difference between the Koloratursopran and the Deutsche Soubrette is the ability to sing extremely high notes, fast coloratura passages, and to have a somewhat brighter sound. Her temperament, language facility, and acting ability are identical to that of the Deutsche Soubrette. Typical roles for this Fach are Zerbinetta in Ariadne auf Naxos, Blonde in Die Entführung aus dem Serail, Norina in Don Pasquale, and Olympia in Les contes d’Hoffmann.

Singers: Lilly Pons, Roberta Peters, Kathleen Battle

Example: Beverly Sills in Capuletti ed i Montecchi.
Lyrischer Koloratursopran roles and arias

Charaktersopran [ka.’ʁak.tɐ.so.’pʁa:n] (b-c”‘)

• Zwischenfach voice; able to achieve sensitive characterization.

The Charaktersopran is a specialty Fach that one very seldom encounters in all but the largest opera houses in Europe. The term Zwischenfach means the voice combines the lyric (singing) qualities of the Lyrischersopran and the dramatic ability of the Jugendlich-dramatischer voice. While she sings all the great Puccini soprano roles: Manon, Mimi, Tosca, Angelica and Butterfly, she may also take on some traditional mezzo roles such as Carmen and the Komponist in Ariadne auf Naxos. It is often the case that the Charaktersopran may have started her career as a mezzo and moved up to the soprano roles. Her German repertoire demands the dramatic intensity of a Salome or the Färberin in Die Frau ohne Schatten, her French repertoire includes such roles as Melisande and Mignon that require sensitivity and a fine sense of characterization. This is not a beginner’s Fach but is arrived at only after many years of professional singing.

Singers: Mezzos: Shirley Verrett, Grace Bumbry, and Maria Ewing. Sopranos: Regina Resnik, Helga Dernesch

Charaktersopran roles

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Helmholz notation:

 

(This article is the third part in the series on the German Fach System and is based on information derived from Rudolf Kloiber’s “Handbuch der Oper”, 9th edition, Deutschen Taschenbuch Verlag. Read the first part of this series here.)

The basic categories of the singing voice, soprano, alto, tenor and bass with their intermediate categories of mezzo-soprano and baritone are the basis of the vocal ranges in the German Fach system. In practice, the voices types are further defined according to quality, range, volume, acting demands, and physical appearance. The first division separates each voice type into two major groups: 1. the Seriösefächer (serious categories), and 2. the Spiel- and Charakterfächer (acting and character categories).

Voices that belong to the Seriösefächer demand, above all, vocal quality; that is to say, noble vocal material and perfect line. The Seriösefächer is further divided into three groups. The first group contains the lyric voices. This does not refer to size as much as the ability to sing a beautiful, lyric line–a Mimi as opposed to Mussetta. The second group is the so-called Zwischenfach that contains voice types possessing qualities of both the lyric and dramatic voice. Zwischenfach singers have the ability to spin a beautiful line as well as deliver dramatic passages without strain. In the Italian school, this voice is often referred to as a Spinto. The third group contains the Hochdramatic voices and is reserved primarily for those who sing the works of Richard Wagner.

Of course, the Spiel- and Charakterfächer also demand excellent vocal quality. As the name implies (Spiel from spielen = to act), the Spielfach requires a high degree of acting ability, ease of movement, and a sense of comedy. Voices belonging to the Charakterfach place emphasis on role portrayal and emotional and intellectual presentation. In regards to vocal size, the Spielfach generally contains the lighter voices and the Charakterfach the heavier voices.

The biggest confusion with the Fach system comes with the Zwischenfach category. Often a young singer whose voice hasn’t found its proper color or range will sing roles from widely different Fächer. Despina and Mimi. Rather than allowing a singer to perform repertoire from two separate voice categories, the term Zwischenfach refers to specific voice types that lie between the lyric and dramatic Fächer whose roles contain both lyric and dramatic singing.

It is best to try to find the right Fach for you. Search for a single category those roles you can easily perform. All the roles will not necessarily be your “best” roles but none should present such difficulties that they may do harm to your voice. If you find that nothing quite fits, this is may an indication that your voice is not yet ready for the demands of a full-time opera position in a repertoire theater and it is better to wait until it is clear in which direction the voice is going before trying for an engagement.

In the following articles in this series, we will look closely at the specific categories for each voice and offer list of roles and aria that are appropriate for each voice type.

(This article is the second part in the series on the German Fach System and is based on information derived from Rudolf Kloiber’s “Handbuch der Oper”, 9th edition, Deutschen Taschenbuch Verlag. Read the first part of this series here.)

When auditioning for a position in a German-speaking theater, the normal audition, either for an agent or an opera house, consists of one to three arias depending on how interested the auditors are and how much time they have. In this short amount of time, you must show both your vocal abilities and how the opera house might best put your special talent to use.

The Germans are lovers of classification. Through years of observation and practice, they have developed a process of categorizing operatic voices by vocal range, size, color, fullness of tone, acting ability, and physical appearance and have come up with no less than 26 different voice categories or Fächer.

This system of vocal classification known as the Fach system was originally developed to facilitate casting in the permanent ensemble. The use of a set ensemble made it necessary to know the capabilities of each singer before the repertoire could be chosen. For example, an attractive soprano with a mellow but moveable voice, good diction and acting abilities, and a basic range of two octaves from C to C is not the lyric soprano but a Deutsche Soubrette (German ingénue). She is responsible for all the roles in opera and operetta that belong to her specific Fach. If the theater is considering an opera or operetta containing one of these roles, this soprano is required to sing it, regardless of whether it is one of her better roles or not.

The ideal opera house would have at least one of each of the most commonly used Fächer. In practice, this is seldom the case. As most operas have more male than female roles, most ensembles are heavy on the men. Also, many singers are asked to cover roles that do not belong to their Fach. Our Deutsche Soubrette may have a clause in her contract (Partien nach Individualität = roles according to individual abilities) requiring her to sing the roles of the higher Koloratursopran (Koloratur Soubrette) assuming her voice has the requisite high notes and clear coloratura.

Although the fest (permanent) ensemble has shrunk in the past 25 years and there is more reliance on the Gast (guest) singer, the Fach system still remains a valuable tool for both the singer and the opera house in all questions of casting. After all, a great deal of time and money will be placed on your ability to sing and act convincingly and fit in with the rest of their ensemble.

As singers, we tend to think of the word Fach as only meaning vocal classification. However, another definition of Fach is a box or cubby-hole—this will give you the idea of how rigid the vocal classification can be once it has been made. Rather than a restriction, this can be a good thing. Nothing can be as detrimental to a voice as being forced to consistently change gears from Rossini to Verdi on consecutive nights. With an average of three to four performances a week of repertoire ranging from Baroque to Contemporary, without the safeguards of Fach, a voice would soon tire, putting your career at jeopardy as well as the entire season.

Even if you never intend to sing in a German-speaking opera house, knowing your Fach is an important tool for the singer. By applying the set standards of Fach to your own voice, you will be able to identify those roles for which you are best suited, and by extension, discover other roles that should be part of your repertoire—roles that you can perform with conviction and, most importantly, will be healthy for the continued development of your voice.

In the following installments, we will look at the different characteristics of the operatic voice and then drill down in detail in how they apply to all 26 voice types. I will provide dozens of examples of audition arias for each voice type and a list of possible roles—large and small.

(This article is first in the series on the German Fach System and is based in part on information derived from Rudolf Kloiber’s “Handbuch der Oper”, 9th edition, Deutschen Taschenbuch Verlag. Read part two of this series here.)