DeWood 1

Dale DeWood
Dr. Kyle Ferrill, Graduate Vocal Pedagogy
University of Memphis,
Rudi E Scheidt School of Music

The Fach System

origin, function, and the dangers of perception

The human voice is a spectrum of brazen boldness and nuanced subtlety with as much variation

as a color wheel; from deep velvety purples to sharp bright reds. Every singer you meet will land

somewhere all her own on that swathe. So how do we begin to build a language for categorization of

something so wide open, so versatile? In who's interest would it be to classify the spectrum into its

primary colors? How could we account for the tints and tones diversifying a selection of yellows?

Should be separate the myriad of greens into a Crayola 64 pack of Hunter, Kelly, Moss, and so on? By

dividing, are we losing the scope of the primary shade, or are we providing ourselves with the control

to precisely select exactly the shade we want? Ultimately, do we clarify or truncate? Perhaps both, but

at some point you've got to pick a crayon, and some classification is the best way to know you've got

the one you want. When it comes to opera, the Fach system has become the gold standard for

describing the character of the voice. This system can be and frequently is viewed out of context,

especially by young American singers. This paper will discuss the Fach system and elements of it, and

also address concerns and risks when considering application of the system to young professional and

pre-professional singers, particularly collegiate singers. I will additionally offer my thoughts on a more

beneficial lens through which American singers in particular can view the system and make it more

serviceable to their needs.

The Fach system emerged in central Europe the early 19th century.1 While the initial

development was largely in Germany, other parts of Europe adopted the system as well. Many houses

1 Pearl McGinnis, The Opera Singer's Career Guide: Understanding the European Fach System (Lanham, Maryland: Scarecrow Press Inc, 2010), 20-21.
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in Europe – and most houses in Germany, Austria, and Switzerland – still use the system today.2 The

German word Fach comes from a root meaning 'drawer' and 'subject' (as in an academic subject). An

expert in a field is described as a fachlich;3 a specialization or accelerated skill is implicit in the

etymology. The derivation of the word is appropriate, as it signifies voices with a specialization, or

perhaps voices that have been pigeon-holed. McGinnus likens the Fach system to typecasting in a

film: an actor for whom dramatic villains are second nature will more likely be cast as such.4 It is

possible, however, that the same actor will be barred from other character types because he is 'just so

good' at playing villains. This is the double-edged sword of the Fach system from the singer's

perspective, which will be addressed later in this document.

One of the most significant reasons for the rise of the Fach system was the style of casting done

in most of the opera houses during the early 19th century: repertory opera. A style literally foreign to

many American singers, repertory opera involves casting a company of singers with contracts of

various lengths, but usually to cover at least one season, but most usually two to three. Company

casting was and is a common occurrence in many 'straight theaters' even in the United States. In opera-

houses in the USA, however, most artists are brought in for leading roles on a per engagement basis.

Analogous to an independent contractor and a staff writer, the work opportunities for the repertory

opera company members are much more stable and consistent. Members of many opera companies in

Germany today receive health insurance and benefits, and are assured certain performance

opportunities during the season, which is usually 8-10 months.5 This 'ensemble' hiring allows an opera-

house to have a consistent pool of talent from which to pull their casting, while frequently allowing for

multiple singers per role. This can assure the singers are not overworked and covers are always

available. With a constantly present cast, more productions can be done, and a sense of the town's
2 Ibid., 20.
3 Sandra Cotton, “Voice classification and Fach: Recent, historical, and conflicting systems of voice categorization.'' DMA diss., University of North
Carolina at Greensboro, 2007, 55.
4 McGinnis, Singer's Career Guide, 22.
5 Ibid., 21.
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'local talent' can create an affinity for the opera-house in the community. Frequently young singers will

become sort of 'town mascots' and the community will follow their development as they improve.6

The ability to keep a full array of singers employed through the year is due in no small part to

government subsidies, another stark difference in the American and European opera houses. With local

or national funding, the options present for an opera-house are considerably more varied. With this

longer term casting in mind, companies must be comfortable that they choose repertoire appropriate to

their talent pool. And this is where we begin to see the business benefits of the Fach system. When an

opera-house contracts a singer for a two to three year engagement, they want to be certain that they are

going to be able to do what they want with that singer. The Fach system categorizes opera roles from

the standard literature (and now the not-so-standard literature – Richard Boldrey's text has over 3500

roles from more than 1000 operas)7 into specific voice types, and a singer of a specific Fach is

expected to be able to learn and perform any of the roles associated with that type. This specificity

provides both an assurance of reliable performances for the opera-house and a protection for the singer,

who will not be expected to sing roles outside her Fach.8 It's notable that some roles, particularly those

with extreme range or length, are listed in multiple Fächer.9 It is clear the advantages of having a

contracted singer at your disposal for whatever role in appropriate, and the opera-house is free to select

repertoire based on its existing company without the fear of not being able to find their principals. The

benefits specific to the German/European arrangement of opera-houses will be contrasted with the

United States' practices later in this paper.

While the Fach system is certainly the go-to reference now, classification of roles didn't start

with it. That is to say, there has traditionally been an association of parts with particular vocal and

physical characteristics. Imps, fairies, and young characters going back before the Baroque period

6 McGinnis, Opera Singer's Guide, 54.

7 Richard Boldrey, Guide to Operatic Roles & Arias (Dallas: Pst...Inc, 1994).
8 McGinnis, Opera Singer's Guide, 24.
9 Boldrey, Operatic Roles, xi.
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have been written with a higher more lyric style of voice in mind. Conversely older figures, kings,

gods, etc are traditionally lower, more dramatic voices.10 With a more modern understanding of the

correlation between large physical builds and robust voices, we could postulate that these parts were

written based as much on the voice as the physique. When the Fach system began to be used as a

means of categorizing opera roles, it was retroactively applied to the classical repertoire. Doing so

made it apparent that composers had already naturally established some character division within their

writing. As such, it is clear that the Fach system is a fitting descriptive tool to quantify composers'

natural inclinations towards vocal writing.11 This presents some unique challenges, particularly for

gender-crossing repertoire, which I will discuss briefly later in the paper.

The System

Several people have described the Fach system, but the two most regarded sources are Rudolph

Kloiber's Handbuch der Oper12 and Richard Boldrey's Guide to Operatic Roles and Arias. These texts

ultimately read as reference indexes more than scholarly examination, but as source material they are

the definitive text. In an effort to more precisely explain the structure of the Fach system, Dr. Pearl

McGinnis discusses the elements that make up a particular Fach in her book The Opera Singer's

Career Guide: Understanding the European Fach System. While her text references Kloiber and

Boldrey's works, I found her descriptions of the criteria more clear. McGinnis attributes Fach to eight

primary factors: voice, range, size, timbre, physical build, age/experience, desire, and frequency of

performance.13 I will discuss them briefly here, and later I will examine what I consider the most

important elements when considering the voice from a pedagogical versus a professional position.

10 McGinnis, Opera Singer's Guide, 25.

11 Seung-Hee Han, “Transcending the Fach: A search for identity inside and out of mezzo-soprano repertoire.” DMA diss., University of Maryland at
College Park, 2006, 3.
12 Rudolph Kloiber, Handbuch der Oper (Munich: DTV Taschenbuch, 2011).
13 McGinnis, Opera Singer's Guide, 22-28.
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Dr. McGinnis' elements of Fach identification

Voice

The principle physical shape of the instrument, basic tactile structure. The 'core of the sound'. This also

encompasses the size and shape of the vocal folds, breath capacity, etc.

Range

The pitches a singer can produce. Tessitura is (erroneously, in my opinon) included as a subset of

range. McGinnis and others, myself included, consider tessitura one of the most important factors in

Fach placement, and not a secondary.

Size

The amount of sound a singer can produce, or also the dramatic nature of the voice. This can be

improved to some degree with technical proficiency.

Timbre

The tone color of the voice. Timbral qualities include resonance, ring, the 'cutting power'. This is

perhaps the most mutable of the criteria and can be directly influenced through technical development.

Physical Build

Character considerations come into play for a singer's build. Height and physique are the most

relevant, as makeup and costuming can do a great deal to conceal age, hair color, etc.

Age/Experience

A general rule is that the more dramatic the role, the older and more experienced the singer should be.

Wagnerian singers, for example, tend to be older than their Mozartian colleagues.

Desire

Is the singer comfortable in his Fach? Does he want to sing dramatic leading roles or comedic

sidekicks? Having a meaningful connection to your characters can be vital to a stable career.
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Frequency of Performance

Often an offshoot of age/experience, how many times a week is one able to sing at a necessarily

effective level? Lighter, less dramatic Fächer tend to be able to perform on a more regular interval,

while larger ones often require a less demanding schedule.

With a clearer understanding of the markers, I will now discuss the individual Fächer, including

approximate range and notable roles of each. I have referenced both Boldrey's and McGinnis' texts to

create this basic outline, yielding chiefly to Boldrey's as the universal standard for English speakers.

The primary division is into the four major voice parts – soprano, mezzo-soprano, tenor, and

bass/baritone – but divide much further into specific subcategories.

Soprano Fächer

There is a greater divide among the soprano voice part than any other of the four main types, due partly

to the extreme range of styles, characters, ages, etc written into the soprano register. There are also

simply more roles for soprano that any other voice part, and so the widest differentiation is to be

expected.

• Soubrette (Soubrette Spielsopran)

Approximate range: C4-C6
Notable roles: Papagena (Die Zauberflöte), Gianetta (L'elisir d'amore), Barbarina (Le nozze di Figaro)

The Soubrette often plays secondary characters such as a sister or friend. There is a comparably

narrow range, but the voice must have enough strength to carry past the orchestra. A good top and

clear middle register, with an allowably weaker low, is typical. A light, flexible voice and good acting

chops. Character work is important, as the Soubrette is often a 'counter' to a dramatic soprano lead.
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• Light Lyric Coloratura Soprano (Lyrischer Koloratursopran)

Approximate range: C4-F6
Notable roles: Norina (L'elisir), Zerbinetta (Ariadne auf Naxos), Nedda (Pagliacci)

Light lyrics have a strong top with a strong, agile instrument and a cutting timbre. Usually a strong but

delicate lead or supporting character, the ability to portray demure and innocent is vital. With

characters like Despina in this category, acting range is crucial. Occasionally these roles are played by

a Soubrette, then called a Lyrischer Koloratursoubrette.

• Light Lyric Soprano (Lyrischer Sopran)

Approximate range: C4-C#6
Notable roles: Susanna (Figaro) Nannetta (Falstaff), Marzelline (Fidelio)

The young girl, on the cusp of womanhood, the light lyric has a strong top with less color on the low

register. Soft, mellowed weight should combine with exquisite phrasing. They could be described as

somewhere between a Soubrette and a full lyric soprano.

• Full Lyric Coloratura Soprano (Lyrischer Koloratursopran Hoher Sopran)

Approximate range: C4-F6
Notable roles: Frau Fluth (Lustigen Weiber), Juliette (Roméo et Juliette), Sesto (Giulio Cesare)

Necessitating a warm, agile instrument and a slender timbre, the full lyric coloratura has a combination

of range and fullness adding weight to her light lyric counterpart. The lower register still has the power

to cut through the orchestra. There are some pants roles from the Baroque in this Fach.

• Full Lyric Soprano (Lyrischer Sopran Hoher Sopran)

Approximate range: C4-C#6
Notable roles: Mimí (La Bohème), Cio-Cio-San (Madama Butterfly), Tosca (Tosca)

The main character of the full lyric soprano is beauty. These are the knockout leading ladies and have

gorgeous warm tone and deep timbre. There is a lesser range that is supplemented by the warm rich

middle and lower registers.

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• Light Dramatic Coloratura Soprano (Dramatischer Koloratursopran)

Approximate range: C4-F6
Notable roles: Norma (Norma), Lucia (Lucia di Lammermoor), Violetta (La traviata)

With the flexibility of a lyric and the weight of a dramatic, this soprano has a strong, cutting top and a

shining, almost lustrous timbre. The florid nature of the repertoire demands an immense breath

capacity. This is perhaps the most demandingly versatile soprano. She is sometimes called a spinto.

• Light Dramatic (Spinto) Soprano ( Dramatischer Sopran)

Approximate range: C4-Bb5
Notable roles: Giselda (I Lombardi), Amelias (Simon Boccanegra), Santuzza (Cavalleria rusticana)

Italian for 'pushed,' spinto is used to describe tenor and soprano voices who rev up with intensity during

dramatic (and often high) notes and phrases. There is a difference in the timbre of the spinto and the

dramatic soprano, but there isn't the sparkle of lyrics' timbre in either. Spinto sopranos are most often

associated with the verismo period of late 19th century Italian opera.

• Full Dramatic Coloratura Soprano (Dramatischer Koloratursopran)

Approximate range: C4-F6
Notable roles: Boleyn (Anne Bolena), Donna Anna (Don Giovanni), Elvira (Ernani)

Boldrey believes this soprano to be the hardest to track down, due in part to the necessity of powerful,

warm timbre throughout the range, high and low. The top is brilliant, and capable of motion, but will

not be as sharp-edged as her lyric counterparts. The upper register must be full, as the repertoire

demands broad, full voiced high notes.

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• Full Dramatic Soprano (Hochdramatischer Sopran)

Approximate range: B3-Bb5
Notable roles: Kundry (Parsifal), Klytemnnästra (Elektra), Didon (Les Troyens)

With a broad, heavy weight and a bright metallic timbre, full dramatics are the powerhouses of

Romantic and Post-Romantic German repertoire. Finesse and high notes are less important than

presence and dark, rich resonance. The massive orchestration of the late 19th and early 20th century

opera demands to strong top and solid middle register common to these sopranos. Many of the roles in

this Fach tend to cross in to the larger voiced mezzo-sopranos as well. The High Dramatic Soprano

is a subset of this Fach with a slightly higher extension and more cutting brightness in the upper voice.

Mezzo-Soprano Fächer

Up through and well into the 19th century, the mezzo-soprano was not really a classification so much as

a Zwischenfach, or a category between categories.14 Many of the early parts of the literature were

actually written for falsettists or castrati, but were eventually handed over to sopranos with deep low

voices (closet mezzos?) or tenors. Even into the early 20th century, distinction between soprano and

mezzo-soprano was still unclear in some compositions. As such, the range of mezzo-soprano repertoire

is more varied, and at times is easier for a high tenor or a low soprano to navigate. The convention of

pants roles emerged early in the Classical period15 (Cherubino, for example), and began establishing a

location for the mezzo-soprano.

• Light Lyric Mezzo-Soprano (Lyrischer Mezzosopran)

Approximate range: B3-B5
Notable roles: Orlofsky (Die Fledermaus), Hänsel (Hänsel und Gretel), Cherubino (Figaro)

Equivalent in tonal and timbral quality to light lyric sopranos, this singer usually has a slender bright

instrument with freedom and flexibility. Agile and playful characters demand a healthy physique.
14 Boldrey, Operatic Roles, 25.
15 Boldrey, Operatic Roles, 25.
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• Full Lyric Mezzo-Soprano (Lyrischer Mezzosopran)

Approximate range: G3-B5
Notable roles: Sesto (La clemenza di Tito), Charlotte (Werther), Dulcinée (Don Quichotte)

A solid range through the registers, full lyrics have a smooth, fluid tone and a softened timbre.

Flexibility is not a priority. Early 19th century French composers loved utilizing this voice for dramatic

heroines. She is an equivalent to her soprano counterparts.

• Dramatic Mezzo-Soprano (Dramatischer Mezzosopran)

Approximate range: G3-Bb5
Notable roles: Azucena (Il trovatore), Countess (Pique Dame), Brangäne (Tristan und Isolde)

A metallic and darker timbre that rivals her soprano counterparts, the dramatic mezzo-soprano has a big

instrument with power to build to potent climaxes. Many Russian operas utilize her, and she is a

favorite of Verdi and Wagner.

• Lyric Contralto (Lyrischer Alt)

Approximate range: G3-F5
Notable roles: Erda (Das Rheingold), Princess (Suor Angelica), Clarice (The Love for Three Oranges)

Before 1800, the contralto was typically a maid or lady in waiting, and was usually comic. Post 1800

they began to get more dynamic roles. It is the lowest female Fach, with deep, dark color and a full

weight, with less flexibility than a mezzo-soprano. These singers are often on the overlap of pieces

designated mezzo-contralto, or capable of being sung by a dramatic mezzo-soprano or a contralto.

This sub genre includes such powerhouse roles as Carmen (Carmen) and Ulrica (Un ballo maschera).
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Tenor Fächer

With very similar ranges throughout, the division of the tenor Fächer is more about color and cut than

character, though of course the dramatic or delicate nature of each instrument is suggestive of a

characterization that is often inherent in the role. Ottavio (Don Giovanni) for example, is a role

requiring more flexibility and nuance, while the Duke (Rigoletto) demands a more lyric, brilliant

timbre. The countertenors (sometimes called male altos) are also included here.

• Countertenor (Sopranist)
Approximate range: F3-A5
Notable roles: Cesare (Giulio Cesare), Apollo (Death in Venice), Fyodor (Boris Godunov)

The countertenor is a relatively new phenomenon, making use of a naturally resonant upper register

that is not (usually) falsetto. Countertenors frequently sing Baroque roles written for castrati, but some

roles have been specifically written for the countertenor voice (Oberon, A Midsummer Night's Dream),

and some roles are sometimes appropriated for the Fach (Orlofsky, Fledermaus). The singers voice is

less dramatic than that of the castrati, so there is often some amount of theatrical dynamic that is lost.

The sub genres of Tenor Altino and Haute-Contre are grouped into this Fach. They are exceptionally

high countertenorial voices with repertoire such as the operas of Lully and Rameau (late 17th century).16

• Comic Tenor (Charaktertenor)

Approximate range: C3-Bb4
Notable roles: Goro (Butterfly), Beppe (Pagliacci), Pedrillo (Die Entführung aus dem Serail)

Associated chiefly with opera buffo of the 18th century, comic tenors have a strong middle register and

some good flexibility, and as much attention is given to his acting ability as his singing voice.

Frequently he plays counterpart to the soubrette. There is a wide variety in the vocal weight and

timbre, but enough of a voice to support the comic acting is usually sufficient.

16 Boldrey, Operatic Roles, 27.

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• Light Lyric Tenor (Lyrischer Tenor)

Approximate range: C3-D5
Notable roles: Ferrando (Cosí fan tutte), Fenton (Falstaff), Tamino (Zauberflöte)

These singers have a soft, pliable top with a less present low register. Flexibility is prized, and these

voices are particularly valuable for the Bel Canto repertoire, as well as Mozart's spritely young tenors.

A light lyric with a small high instrument is called, somewhat disparagingly, a tenorino. Conversely, a

particularly mature singer will access lighter roles in the Verdi repertoire.

• Full Lyric Tenor (Lyrischer Tenor/Italiensicher Tenor)

Approximate range: C3-C#5
Notable roles: Il Duca (Rigoletto) Rodolfo (Bohème), Nemorino (L'elisir)

A solid, not overly loud voice combined with a smooth confidence in legato line combines in this Fach.

The learnèd lover comes from these, often singing opposite the full lyric soprano (Rodolfo and Mimì in

Bohème, for example). While lacking the flexibility of the light lyric, he must have a passion and fire

present in his characterization.

• Dramatic (Spinto) Tenor (Jugendlicher/Heldentenor)

Approximate range: C3-C5
Notable roles: Des Grieux (Manon), Oronte (I masnadieri), Cavaradossi (Tosca)

A lyric tenor with a little extra in the tank, the spinto tenor is not a dramatic tenor, but more akin to

lyric with more timbre, and brighter, more metallic resonance. A flair for climactic moments and fluid

lines alike mark the traits of these singers. They are often paired with their soprano counterparts.

• Heroic Tenor (Dramatischer Tenor/Heldentenor)

Approximate range: C3-Bb5
Notable roles: Tannhäuser (Tannhäuser), Siegfried (Siegfried), Otello (Otello)

Sometimes called the Wagner Tenor (Wagner Heldentenor), this penetrative, baritonal voice is the hero

in maybe of Wagner's works. He has a tessitura slightly below his counterparts but above lyric

baritones. Many tenors who started as baritones move into this Fach.
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Baritone Fächer

Before 1800, all male roles below tenor were called basses. We do see a distinction of tessitura during

the Classical Period between 'high basses' and 'low basses', (Leporello and Don Giovanni in Don

Giovanni, for example) but labeling of the baritone register emerged largely from the Fach system in

an effort to narrow down the extremely wide range of 'basses' which could refer to anything from

Sarastro to Guglielmo. The word baritone, from the Greek barytonos meaning 'deep sounding' has only

been applied to repertoire since the early 19th century.17

• Light Lyric Baritone (Lyrischer Bariton/Spielbariton)

Approximate range: C3-Ab4
Notable roles: Ko-Ko (The Mikado), Figaro (Figaro), Leporello (Don Giovanni)

These baritones have strong top and a slender tone combined with a flexibility and attention to line.

There is an expectation of strong acting chops. Many of the roles in this Fach are often sung by

character bass-baritones due to the buffo nature of the roles, especially in Mozart's operas. Gilbert and

Sullivan also favored light lyrics for their principle roles.

• Full Lyric Baritone (Kavalierbariton)

Approximate range: C3-F#4
Notable roles: Escamillo (Carmen), Papageno (Zauberflöte), Figaro (Il barbiere di Siviglia)

A clear top with a balanced middle and low should combine with a robust timbre and a spacious

resonance. Full lyrics are favorites of French repertoire, and many of Mozart's 'basses' are sung by this

Fach (Almaviva and Papageno, for example).

• Dramatic Baritone (Dramatischer Bariton)

Approximate range: A2-F#4
Notable roles: Porgy (Porgy and Bess), Rigoletto (Rigoletto), Iago (Otello)

The 'Verdi baritones', these men have a dark, velvety sound with a flair for dramatic climax. While

similar in flexibility to their counterparts who favor Bel Canto, they have a more focused sound.

Singers without the breadth for Verdi repertoire in this Fach tend to migrate to another.

17 Boldrey, Operatic Roles, 29.

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• Bass-baritone (Charakterbass)
Approximate range: Ab2-F4
Notable roles: Leporello (Giovanni), Dulcamara (L'elisir), Bottom (Midsummer Night's Dream)

This is a relatively new Fach for deep big voices with a lot of color and versatility. Characterization is

really important, as many of the patter-roles reside here. It is something of a no-man's land, often for

basses with a good upper register or baritones with a strong lower one. It is more demanding than

either in the sense of consistency throughout the registers.

• Comic Bass (Spielbass/Bassobuffo)

Approximate range: F2-E4
Notable roles: Don Pasquale (Don Pasquale), Falstaff (Falstaff), Guillaume Tell (Guillaume Tell)

Humor and character are key to this Fach. Comic basses have a warm, clear color throughout the

voice, with a lot of options for timbral quality depending on the desired effect. The early comic bass

roles came from Rossini and Donizetti, and as such demanded a lot of flexibility.

• Lyric Bass (Lyrischer Basso)

Approximate range: G2-F4
Notable roles: Sarastro (Zauberflöte), Masetto (Figaro), Lodovico (Otello)

A clear, controlled top and good line is important, with less emphasis on the lower extremes of the

range. After the post-1800 reassignment of 'bass' roles to more precision, these became the basses of

choice for lyric and romantic operas.

• Dramatic Bass (Dramatischer Basso)

Approximate range:E2-E4
Notable roles: Banco (Macbeth), Commendatore (Giovanni), Boris Godunov (Boris Godunov)

Full, thick, and with a powerful, resonant low, this is the Fach of the all too rare basso profundo. The

timbral quality of the voice is dark, but with enough ping to cut through the usually light orchestration

in the lowest register. They are sometimes called Schwarze Basso (black bass). The Fach is much

more common among singers of Slavic descent, which could explain why the Fach is seen so often in

Russian and other Slavic repertoire.

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American Singers and the Fach system

As was discussed earlier in this paper, the Fach system emerged as a tool to facilitate casting

and hiring decisions in a repertory opera-house, allowing mangers and directors to have a clear

understanding of the requirements and expectations of their singers. It simultaneously protected

singers from undue challenges and burdens by making sure they were not cast in a company production

that did not fit within their Fach. This is an excellent system if you are planning to work in Germany

or Austria. However, this company casting is not the case in American opera-houses. Companies with

small or middle of the road budgets usually have a local pool of talent that is tapped for comprimario

roles and ensembles, but principle performers are most often hired on a per-performance basis. Casting

decisions are not made with contracted performers in mind, and the same singer will almost certainly

not be engaged for the bulk of the roles in an opera's season. As such, the business requirements that

led to the establishment of the Fach system are not applicable to singers making their careers in the

United States. Opera roles are so tied up in the system however that it is difficult to separate from it as

a tool for accessing repertoire. Not that using the system as a tool is inherently problematic; there are

many benefits to using Fach as a guideline. What is problematic is the baggage that comes with such

classification.

Benefits of the Fach system outside repertory houses

To begin to examine the benefits of the Fach system for a singer not necessarily destined for a

repertory house in Germany, we must first understand that the system is a guideline to the traditional

and statistical practices of the literature. This does not mean there will be a Fach that is an accurate

description of every voice, or that every voice will fit into precisely one Fach: frequently singers have

more than one possible Fach, and they will likely be more comfortable in some of the repertoire of
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each. Richard Boldrey may have said it best:

Like books, voices and roles do not always fit comfortably into just one

category. Consequently, some pedagogues and singers dispute the value of

voice categories....But voice categories are not meant to constrain

singers....On the contrary, they are meant to guide a voice toward appropriate

repertoire, and to help it from going off in several directions at once.18

Rarely is there a voice that is perfectly suited in all elements to a single Fach and has no issue with any

of the literature. Likewise, rarely will a singer be completely unable to access any repertoire outside

his Fach. It cannot be overstated that the system was developed as a business tool for a specific type of

opera-house, and as such is not applicable in its strict form outside of that context. Rather, this system

must be viewed as an index, a way to suggest and predict. As such, an accurate description of a

singer's Fach is vital if he hopes to progress (and an erroneous categorization can lead to quite the

opposite).

The most obvious benefit of the Fach system for singers is the categorization of repertoire.

Generally if you sing something well, you can examine repertoire in the same and neighboring Fächer

to find other selections that also suit you well. In doing so, you are increasing your knowledge of the

repertoire and expanding your exposure to relevant roles. Knowing the repertoire usually handled in

your Fach can also help find good models to listen to. In the age of YouTube, it is easier and easier to

see and hear singers from today all the way back to the so called Golden Age of the middle 20th

century. Having the opportunity to listen to a virtual chorus of soubrettes can give a student-singer a

lot of information to work towards a better understanding of her own instrument.

Singers should also consider the assumptions of the powers that be in the opera community,

18 Boldrey, Operatic Roles, 6.

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many of which – correctly or not – have certain expectations based on the Fach system.19 An important

way to influence this is audition repertoire. A savvy singer will have an aria set that reflects a specific

Fach, or at least a specific narrow range of Fächer. Especially important to this consideration is the

style of the pieces, not necessarily the tessitura; a majority of casting directors are looking for a unified

style of pieces from a new auditioning singer.20 While this is not necessarily a good effect of the Fach

system, it is a relevant effect, as the preconceptions of casting directors will obviously have a direct

influence on your ability to be hired. This is an important lesson in understanding the system: while

there are problems with applying Fach categorization to American singers, it is still the most widely

utilized tool for identifying singers' voice types. This same caution when approaching auditions can

also apply to competitions: judges are as put off by unclear repertoire choices as casting directors are.21

Having an accurate categorization in college can be particularly valuable. How many arias does

one have time to learn during a Master's Degree? If a student (or her teacher) has a good idea of what

she should be singing/can sing, she won't waste time learning repertoire she will ultimately have to

leave off the table. This is of course a variable option – voices often change during the learning

process – but a general idea of your Fach can put things in the right direction at least. It's an important

factor that many college programs may be forced to utilize singers outside of their Fach to allow for

certain productions to be cast; a baritone with good low notes might be able to 'cheat' Sarastro in a

production of Zauberflöte. As long as that singer is well aware of the 'stretching' taking place, they

should be able to keep on track for accurate repertoire that truly suits their instrument.

The principle point regarding the benefits of utilizing the Fach system is understanding it

correctly in the context in which it's applied. This is why so many of the potential benefits can also be

hindrances in the case of misunderstanding your Fach.

19 Hope Koehler, “The effects of perception of voice type on the practice of pedagogy of singing opera.” DMA diss., University of Kentucky, 2003, 15.
20 Ibid., 15.
21 Carnegie Hall Weill Music Institute. 2016. “Choosing Audition Repertoire.” Musical Exchange at Carnegie Hall. Accessed April 10, 2016.
 DeWood 18

Potential hazards of the Fach system outside repertory houses

As stated above, the major risks present when utilizing the Fach system to classify a singer

come out of a misunderstanding of the purpose of the system in the given context. Given an inaccurate

classification or a failure to fully understand the specifics of a Fach, a singer could face frustration,

poor results, and ultimately could cause serious damage to the instrument. The most obvious business

danger here is unnecessary or incorrect pigeon-holing of a singer. Especially in young singers, we see

a fear of attempting repertoire they aren't 'supposed' to sing, in many case in spite of their ability to do

so successfully. Dr. Hope Koehler's study of Fach and perception suggested that the majority of singers

and voice teachers would not be comfortable singing outside their Fach or assigning something outside

a student's Fach.22 This creates a real problem if the singer hasn't accurately identified his or her

category!

What I believe is the most distractive element of the Fach system is the obsession with the

physical build associated with the various Fächer. This convention does have some correlation with

the average singer; most people fit into a standard mold physically and vocally. Also, composers have

historically written roles that are suggestive of a voice and body type in tandem.23 However, the

'traditional' staging of opera is not the only convention, and many houses, especially in the United

States have been experimenting with new and unconventional stagings. Los Angeles Opera debuted a

Zauberflöte last year that was done entirely with green screen.24 While it is true that your average

Despina will be a delicate figure with a small lyric voice, this is not the only way to cast a production.

More and more we are seeing new takes on the standard repertoire, allowing for a more diverse

physicality within a Fach. Now perhaps it is a pipe-dream to suggest that a short thin bass-baritone

will have success in buffo roles and so on, but I believe the physical expectations of a particular Fach

22 Koehler, “effects of perception,” 14,18.

23 McGinnis, Opera Singer's Guide, 23.
24 LA Opera. 2016. “The Magic Flute.” LA Opera Official Website. Accessed April 10, 2016.
 DeWood 19

are a hindrance. This relates to the danger of singing a Fach that fits your body but not your voice:

which is worth compromising in order to get hired? Again, perhaps this is all wishful thinking, but I

am not convinced that the physicality of a singer should be so central to the classification of their

abilities.

Regarding the Fach system itself, it is the opinion of some of the recent literature that too much

emphasis for classification of voice type is reliant on the laundry list of the Fach system: Dr. Sandra

Cotton and Dr. Koehler both suggest that timbre and tessitura is by far the most important part of

determining the characterization of a singer's instrument.2526 If we consider McGinnis' eight elements

of Fach identification, there are two which are alterable through practice and experience. Range

(specifically tessitura) and timbre are adjustable and capable of strengthening via pedagogical

technique. As such, Drs. Cotton and Koehler are of the position that 'rigid' systems like Fächer are not

as beneficial to American singers as a less limiting classification based on the comfortability of the

voice in repertoire based on tessitura and timbral quality/resonance. In an attempt to offer solutions

while operating in the Fach system, Dr. Cotton discusses the importance of agility and flexibility in an

effort to have repertory experiences in a wider spread of Fächer.27 She does concede, however, that the

pedagogical community often approaches classification differently than career-minded performers,

thinking more about ideal technique in its own right, not as it applies to a Fach.28 The problem of

perception and expectation of producers and directors makes technique in a vacuum potentially a moot

point: Dr. Koehler's survey research examined the casting bias of producers and directors, noting that

the majority of each have specific casting expectations that largely align with the standards outlined in

the Fach system.29

25 Cotton, “classification and Fach,” 11.

26 Koehler, “effects of perception,” 16-19.
27 Cotton, “classification and Fach,” 3,7-9.
28 Ibid., 9.
29 Koehler, “effects of perception,” 21-23.
 DeWood 20

It is hopefully clear that the Fach system is extremely effective when used in the structure for

which it was designed. It is also hopefully clear that the Fach system has the potential to be a major

benefit or a major hindrance – maybe both – when used outside of its structure. It is possible as we

continue to examine the pedagogical and technical elements of the voice alongside the mutable

professional expectations and requirements that we might find a way to replace or update the Fach

system, but for now it is the standard we have to work with. By understanding the nature of the

system, contextualizing it appropriately, and having an accurate idea about how our voices fit into the

structure, we can hope to utilize the Fach system as a tool to improve our stake as artists.
 DeWood 21

Bibliography of Sources

Boldrey, Richard. Guide to Operatic Roles & Arias. Dallas: Pst...Inc., 1994.

Carnegie Hall Weill Music Institute. 2016. “Choosing Audition Repertoire.” Musical Exchange at
Carnegie Hall, musicalexchange.carnegiehall.org.

Cotton, Sandra. ''Voice classification and Fach: Recent, historical, and conflicting systems of
voice categorization.'' DMA diss.,University of North Carolina at Greensboro, 2007.

Han, Seung-Hee. ''Transcending the Fach: A search for identity inside and out of mezzo-soprano
repertoire.'' DMA diss., University of Maryland at College Park, 2006.

Kloiber, Rudolph. Handbuch der Oper. Munich: DTV Taschbuch, 2011.

Koehler, Hope Elizabeth. ''The effects of perception of voice type on the practice and pedagogy of
singing opera.'' DMA diss., University of Kentucky, 2003.

LA Opera. 2016. “The Magic Flute.” LA Opera Official Website,www.laopera.org.

McGinnis, Pearl Yeadon. The Opera Singer's Career Guide: Understanding the European
Fach System. Lanham, Maryland: Scarecrow Press Inc., 2010.