Lyric soprano
A lyric soprano is a type of operatic soprano voice that has a warm quality with a bright, full timbre that can be heard over an orchestra. The lyric soprano voice generally has a higher tessitura than a soubrette and usually plays ingenues and other sympathetic characters in opera. Lyric sopranos have a range from approximately middle C (C4) to "high D" (D6).[1] There is a tendency to divide lyric sopranos into two groups: light and full.[2]
Light lyric soprano
    
A light-lyric soprano has a bigger voice than a soubrette but still possesses a youthful quality.[3] There are a wide variety of roles written for this voice, and they may sing soubrette, baroque and other light roles as well.[4]
Light lyric soprano roles
    
Source:[2]
- Alice, Le comte Ory (Gioachino Rossini)
 - Ännchen, Der Freischütz (Carl Maria von Weber) (or soubrette)
 - Annina, La traviata (Giuseppe Verdi)
 - Antonia, The Tales of Hoffmann (Jacques Offenbach)
 - Clorinda, La Cenerentola (Gioachino Rossini)
 - Despina, Così fan tutte (Wolfgang Amadeus Mozart) (or soubrette)
 - Euridice, Orfeo ed Euridice (Christoph Willibald Gluck)
 - Gretel, Hänsel und Gretel (Engelbert Humperdinck)
 - Juliette, Roméo et Juliette (Charles Gounod)
 - Laurie Moss, The Tender Land (Aaron Copland)
 - Lauretta, Gianni Schicchi (Giacomo Puccini)
 - Marguerite, Faust (Charles Gounod)
 - Marzelline, Fidelio (Ludwig van Beethoven)
 - Manon, Manon (Jules Massenet)
 - Musetta, La bohème (Puccini)
 - Pamina, The Magic Flute (Mozart)
 - Servilia, La clemenza di Tito (Mozart)
 - Sophie, Der Rosenkavalier (Richard Strauss)
 - Sophie, Werther (Jules Massenet)
 - Susanna, The Marriage of Figaro (Mozart) (or soubrette)
 - Zerlina, Don Giovanni (Mozart) (or soubrette)
 
Full lyric soprano
    
A full-lyric soprano has a more mature sound than a light-lyric soprano and can be heard over a bigger orchestra.[3] This more mature sound may make a full-lyric less suitable for some of the lighter roles. Occasionally a full lyric will have a big enough voice that she can take on much heavier roles, using volume in place of vocal weight. This is done when a more lyric timbre is desired in an otherwise heavier role. Otherwise full lyric sopranos need be judicious with spinto and other heavy roles to prevent vocal deterioration.[1]
Full lyric soprano roles
    
Source:[2]
- Emilia, The Makropulos Case (Leoš Janáček)
 - La Contessa, The Marriage of Figaro (Wolfgang Amadeus Mozart)
 - Liù, Turandot (Giacomo Puccini)
 - Lulu, Lulu (Alban Berg)
 - The Marschallin, Der Rosenkavalier (Richard Strauss)
 - Magda, La rondine (Puccini)
 - Wally, La Wally (Alfredo Catalani)
 - Mimì, La bohème (Puccini)
 - Micaëla, Carmen (Georges Bizet)
 - Rusalka, Rusalka (Antonín Dvořák)
 - Tatyana, Eugene Onegin (Pyotr Ilyich Tchaikovsky)
 - Hanna, The Merry Widow (Franz Lehár)
 - Bess, Porgy and Bess (George Gershwin)
 
References
    
Notes
- Coffin (1960), p.
 - Boldrey (1994), p.
 - Nashville Opera Archived 2008-02-29 at the Wayback Machine
 - Boldrey (1992), p. .
 
Sources
- Boldrey, Richard; Robert Caldwell; Werner Singer; Joan Wall; Roger Pines (1992). Singer's Edition (Light Lyric Soprano): Operatic Arias - Light Lyric Soprano. Caldwell Publishing Company. ISBN 978-1-877761-02-7.
 - Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing Company. ISBN 978-1-877761-64-5.
 - Coffin, Berton (1960). Coloratura, Lyric and Dramatic Soprano, Vol. 1. Rowman & Littlefield Publishers. ISBN 978-0-8108-0188-2.
 
Further reading
    
- Boldrey, Richard; Robert Caldwell; Werner Singer; Joan Wall; Roger Pines (1992). Singer's Edition (Soubrette): Operatic Arias - Soubrette. Caldwell Publishing Company. ISBN 978-1-877761-03-4.