The timbre is incredibly clean and is never disrupted by heavy vibrato or even a moderate jolt in volume. Notice the limpid, fresh sound that a light lyric soprano must possess. Light lyric soprano Ileana Cotrubas singing the aria ‘Una donna a quindici ann’ from Mozart’s opera Cosi fan tutte.
The voice must possess a girlish, glassy quality that most float rather than vibrate with squillo The light lyric soprano is the most ingenue voice type within the lyric category. However the standard tessitura for the lyric soprano remains deeply embedded in the middle and lower portions of the upper register which exudes the lyric sound to its fullest.Īlthough innately always a ‘lyric’ instrument, this fach can actually be analysed within three different sub-categories, the first being the light-lyric soprano
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However the lyric soprano usually has access to notes above these parameters, with light lyric sopranos being able to sing consistently in a high tessitura to notes including C#6, High D6 and even Eb6, whilst the full lyric soprano can often sing in a tessitura that can be sung down into the low Bb3 and equally up to the High C6. The lyric soprano usually ranges from the middle C4 to the High C6. From 18th century baroque music to the 20th century dramas of Puccini, the lyric voice has perhaps garnered the most appeal from the public and composers alike for the sheer beauty and abundance of this fach. Lyrical and pure, the lyric voice represents the most common soprano placement and one of the most prominent vocal instruments in opera. The lyric soprano is the quintessential and most recognisable of all the soprano fachs.
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