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...antabile-subito.de/Contraltos/Dutch_Contraltos/dutch_contraltos.html Dutch contraltos] [[Category:Operatic contraltos]] ...

...t in [[Gothenburg]] in 1967. Though principally singing concert works, her operatic roles include parts in [[Benjamin Britten|Britten's]] ''[[The Rape of Lucre [[Category:Swedish contraltos]] ...

...o.de/Contraltos/Dutch_Contraltos/hauptteil_dutch_contraltos.html Six Dutch Contraltos] (includes MP3 of [[Edward Elgar|Sir Edward Elgar's]] [[Sea Slumber Song]]) [[Category:Operatic contraltos]] ...

...ustralia}}</ref> By this stage she had become one of the country's leading contraltos, often appearing on radio and television and with the Sydney and Queensland [[Category:Operatic mezzo-sopranos]] ...

...ts, Brandt was regarded, in her prime, as being one of the greatest German operatic vocalists of the 19th century. As an admirable interpreter of [[Richard Wag [[Category:Operatic contraltos]] ...

...career was primarily on the concert stage, her physique being unsuited to operatic performance, but an early theatrical appearance was in the comedy ''[[Eastw Though not physically suited to the operatic stage, Stiles-Allen took leading operatic roles in studio broadcasts for the [[BBC]], including Handel's ''[[Rodelind ...

==Operatic career== [[Category:American operatic contraltos]] ...

[[Category:English contraltos]] [[Category:English operatic mezzo-sopranos]] ...

...ontralto role. The dramatic contralto voice is heard in much of the German operatic repertoire. Erda in ''[[Der Ring des Nibelungen]]'' and Gaea in [[Daphne (o ...roles originally written for [[castrato|castrati]]. A common saying among contraltos is that they may play only "witches, bitches, or [[Breeches role|britches]] ...

[[Category:Australian contraltos]] [[Category:Operatic contraltos]] ...

[[Category:Welsh contraltos]] [[Category:British operatic contraltos]] ...

[[Category:American operatic contraltos]] ...

Desmond's career was mostly in concert and recital, but she made some operatic appearances. A 1916 review of the [[Carl Rosa Opera Company]] described her [[Category:English contraltos]] ...

...iculty singing above E₅. In a choral context mezzo-sopranos and contraltos might sing the alto part, together with countertenors, thus having three vo Although some women who sing alto in a choir are contraltos, many would be more accurately called [[mezzo-soprano]]s (a voice of somewh ...

...ile on tour. She is sometimes considered the greatest of all the principal contraltos of the D'Oyly Carte Opera Company. ...the most dramatic entrance of almost any character in the operas, and few contraltos can have equalled the late Bertha Lewis in this scene. Majestic in presence ...

...h [[contralto]] of the mid-twentieth century. Her career included concert, operatic and recital performance from the early 1920s until the 1950s. She worked wi ...es]] and [[Horace Stevens]].<ref>Elkin, pp. 158 and 164.</ref> Brunskill's operatic appearances were fewer in the 1930s, but in 1933 her Amneris at Covent Gard ...

...Seville|Barber of Seville]]'' (all of which are also sung by sopranos and contraltos). Many 19th-century [[French-language operas]] give the leading female role ...l roles for mezzo-sopranos include the stereotypical triad associated with contraltos of "witches, bitches, and britches": witches, nurses, and wise women, such ...

[[Category:Operatic contraltos]] [[Category:Australian contraltos]] ...

...[[Jan Peerce]], and [[Robert Merrill]], in the conductor's final complete operatic performance.<ref>{{cite web |url=http://home.earthlink.net/~jw3/Records.htm [[Category:American operatic contraltos]] ...

...6</ref> While working as a secretary, she began to perform with an amateur operatic society, where she met [[bass-baritone]] Michael Fox (who later used the st [[Category:English contraltos]] ...