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Soprano sfogato
Soprano sfogato ("Vented" soprano) is a term which, in the art of singing, designates a contralto or mezzo-soprano who is capable—by sheer industry or natural talent—of extending their upper range and being able to encompass the coloratura soprano tessitura. It is sometimes called ''soprano assoluta''.
== Origin ==
In the early 19th century as well as in the baroque and classical periods, distinctions between voices were not based so much on the range as in the tessitura and color of the voice. There were two main groups: soprano and alto. Their range was often blurred, relying more on tessitura to cast different roles in opera. In Italian bel canto, the soprano did not have extremely high notes actually written (often just to B5 or high C) and it was not until the "nightingale" type of sopranos such as Jenny Lind, Fanny Persiani, Adelina Patti and her imitators that ending the cabalettas in a climactic high E or E became traditional as it was in the French grand opera which became so popular when Rossini moved to Paris. Singers however did ornament higher than high C but in a light and fast way as it was done still in the classical and baroque periods. Virtuosity was shown by quick-silver agility, changes in register and tessitura, perfect control of dynamics and tonal coloration, not by whistle-like high notes.
For contraltos on the other hand, they started to be more used in Rossini's bel canto operas for example, and to assume roles replacing the castrati who by that time were almost extinct, and composers demanded a range often going as high as B below high C. This change in demand of the voice would give birth to the ''soprano sfogato'' or ''assoluta''
These voices had in common with those of the greatest castrati the ability to sing widely contrasting tessituras, segments well into the contralto and segments in high soprano.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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