Please take a deep breath.

Your voice type does not define who you are as a singer. 

Yes, your voice type can matter.  But…. does it matter as much as singers on the internet seem to think it does?

Absolutely not! 

Why Your Voice Type Doesn’t Matter When You’re Starting Out

If you are just beginning your singing journey, your voice type should not be your main concern. 

I don’t care if you want to sing opera, musical theatre, pop, rock, country, jazz, worship music, karaoke, or “Never Gonna Give You Up” in your kitchen.

If you are just starting out, your job is to learn the basics of how to sing : breathing effectively, finding balance in your sound, developing coordination, building stamina, and learning how to trust your instrument.

And let’s not forget confidence! That is a biggie for sure. 

Why? Well, you cannot vocalize consistently if you are terrified of your own voice. If every note has you afraid of what might come out, we have bigger things to work on than whether you are a soprano, mezzo, tenor, baritone, or the most profundo of all bassos. 

Voice type becomes clearer as technique develops. In the beginning, voices can be all over the place. Range may be super inconsistent. Tone may change from day to day as you figure things out.  High notes may feel scary (SUPER common, even for a long time. Sorry) Low notes may disappear. Middle notes may be weak.

That does not mean you “aren’t meant to do this”. It means you are learning!

Where Voice Type Matters A Lot: Opera

Now, if you sing classical music, especially opera, voice type matters.

A lot.

Very, very much, in fact. Dare I say it….in this genre, it does pretty much define you! 

Opera has an entire system in place called the Fach system, where voices are categorized in extremely specific ways. Sopranos are not just sopranos. Tenors are not just tenors. Mezzos, baritones, basses, contraltos — all of these categories can be broken down even further.

There are lyric sopranos, dramatic sopranos, coloratura sopranos, lyric tenors, heldentenors, lyric baritones, dramatic baritones, and so on.

Why?

Because opera is extremely specific in its vocal expectations. It is highly athletic, highly traditional, and, in many ways, very instrumental in its approach to singing. The voice is expected to carry over an orchestra without amplification, while matching a particular style, weight, color, and stamina.

There is not a lot of room to “just make it your own” vocally. Very little…if any. 

In opera, much of the repertoire is set in tradition. The way a role is sung, the key, the vocal weight required, and the sound expected are often treated as non-negotiable.

That does not mean there is no artistry. Of course there is artistry. I mean, look at MARIA CALLAS for one. The ultimate artist! And Beverly Sills, Luciano Pavarotti…..

But vocally? There are rules, and lots of ‘em. 

Opera is not the place where someone says, “You know what? Let’s just transpose the aria and give it more of a pop-rock edge. Thinking Violetta needs to be a bit more Stevie Nicks here”

The ghost of Verdi would come a knockin’ at the stage door, and not because he liked what he heard (we won’t get into some of  the odd “edgy”  productions that have recently popped up, that is a whole other story!) 

Opera values beauty, consistency, vocal suitability, and tradition. Voices that are not ready for certain repertoire should not be singing it yet, and believe you me- the voice nerds that specialize in opera are super opinionated on that front- and rightly so.

It is what it is.

Where Voice Type Matters Somewhat: Musical Theatre

Musical theatre is a different animal.

Voice type matters somewhat in musical theatre, but it is not nearly as rigid as opera! 

It used to matter more. Classic musical theatre had clearer vocal categories. You had legit sopranos, golden-age baritones, character belters, ingénues, leading men, etc.

But the musical theatre landscape has changed dramatically.

Now musical theatre includes pop, rock, folk, country, gospel, rap, operetta, jazz, and everything in between. It is a murky genre, vocally speaking.

And honestly? That can be exciting! It makes room for everybody, really. 

In musical theatre, voice type is often used as a general guideline, not a permanent sentence.

What matters more than  voice type here: can you sing the role well? Can you tell the story?

That will often matter more than what voice part you wrote on your resume.

Case in point: Sutton Foster.

Sutton Foster is known as a powerhouse mezzo-soprano belter, having performed roles like Reno Sweeney and Millie.  However, she recently played Marian Paroo in The Music Man, a role traditionally sung by a legit soprano. Think Barbara Cook back in the day: classic, shimmering, golden-age soprano sound (looove Barbara Cook!) 

Sutton Foster is not Barbara Cook.

And that is not an insult. Sutton Foster is Sutton Foster, and she is amazing at what she does! 

So what did they do? They made some adjustments to suit her voice.

Because in musical theatre, especially when you are dealing with a performer with that level of charisma, skill, and star power, the rules can bend. Storytelling and personality matter.

Also, the phenomenal Audra McDonald, a soprano, was recently nominated for a Tony for her interpretation of the iconic Mama Rose in Gypsy- which is known to be THE belter role. 

Audra SLAYED as Mama Rose, doing it her way, 

You will not see that in opera.

Ever.

Opera would simply say, “That is not your Fach. Please step away from the Puccini, mezzo dahhhhhling .”

Where Voice Type Does Not Matter: Pop, Rock, Country, Jazz, and Commercial Styles

Now let’s talk about commercial genres: pop, rock, country, jazz, folk, blues, worship music, cabaret, and similar styles.

Does your voice type matter here? No.

Absolutely not.

Not at all, in fact!

And isn’t that freeing?

In these styles, you are not usually answering to a full orchestra, a centuries-old tradition, or a rigid Fach system. You get to decide what key works for your voice.

You work it out with your accompanist, your band, your track, your guitarist, or your own piano skills if you are one of those annoyingly talented people who can do everything.

You can change the key.

You can change the arrangement.

You can make the song moodier, lighter, bluesier, folkier, rockier, jazzier, weirder, simpler, or more dramatic.

In fact, individuality is not just allowed in these genres. It is expected.

Nobody goes to a rock show and says, “Excuse me, I believe that song was originally written for a lyric tenor.”

No one cares.

Can you sing it?

Does it sound good?

Does it feel authentic?

Does it communicate something?

That is what matters.

Your voice type does not matter in commercial styles. And frankly, that is not even up for discussion.

So What Should You Focus On Instead?

Instead of obsessing over whether you are a soprano, mezzo, tenor, baritone, bass, contralto, baritenor, or “I don’t know, my choir teacher says I’m an alto ,” focus on becoming a better singer.

Focus on technique.

Focus on musicality.

Focus on acting.

Focus on style.

Focus on confidence.

Focus on choosing songs that suit your voice right now, not the voice you wish you had, and certainly not the voice your favorite singer has.

Your voice type is information.

It is not your identity.

It is not your destiny.

So calm down.

Learn to sing well first. And if that is what you want to learn, schedule some time with me and let’s start your vocal journey!