Zwischenfach: Paradox or Paradigm?

<p>Singers within the operatic world are expected to conform to the strict limits and dictates of the Fachsystem. Casting directors and opera companies prefer to be informed of which particular ‘Fach-box’ you tick when auditioning and it is becoming increasingly important for career advancement and name recognition to remain within that box. Yet what happens when your voice does not operate strictly within the predetermined requirements of a particular box? Or if the vocal category you supposedly assume is already ambiguous and contentious? Jennifer Allen’s DMA thesis, An Analysis and Discussion of Zwischenfach Voices, provides invaluable critical insight surrounding this enigmatic concept of voice categorisation. Allen argues that despite advances within vocal pedagogy, there remains a ‘gray area’ within the discussion. This elusiveness, to which Allen refers, pertains directly to the Zwischenfach voice type. Translated literally from German, the word Zwischen means ‘between’ and ‘Fach’ refers specifically to vocal specialisation as a way of categorising singers according to the weight, range and colour of their voices. Thus, in its most basic form, a Zwischenfach voice denotes a voice that lies between the vocal categories of soprano and mezzo-soprano. However, whilst Dr Rudolf Kloiber’s Handbuch der Oper (a staple for the operatic world) provides a definitive guide to vocal categorisation and continues to influence casting throughout Germany and Europe, the corresponding American Boldrey Guide acknowledges Zwischenfach as a voice that cannot be classified precisely in one particular Fach or another. This lack of uniform approach highlights not only the potential flexibility of this voice, but also the paradoxical nature of attempting to define a voice that defies standard classification. Indeed, as a young singer currently singing high mezzo-soprano repertoire, I have found the Zwischenfach labelling to be a paradox, for the upper extension of my voice also enables me potentially to sing some soprano roles. Therefore, is it conceivable to postulate that this term is a misnomer and merely highlights the issues associated with being constrained within the Fachsystem? In order to come to terms with these issues, then, my analysis of Zwischenfach labelling requires a separation of voice categorisation and the Fachsystem and an ongoing critique of these systems throughout my exegesis. In an attempt to determine its practicalities, the limits that it can impose, and how its boundaries have not always functioned so neatly, my critique focuses on elements such as convenience, marketability and professional development and life. An exploration of the relevance of aspects such as range, tessitura, passaggi, timbre, agility, physical characteristics, pitch of the speaking voice, and scientific tests is also necessary. Once a definition of Zwischenfach is established, I consider the “in between” nature of this vocal category as I investigate roles that develop out of this into the realm of the heavier, more dramatic voice. Finally, I explore the implications of switching between Fächer and divulge how I incorporate the contradictions within this category with the successful management of the label. The piecing together of existing scholarship surrounding this field of research and the practical application to my own expanding repertoire is invaluable in facilitating the expansion of my knowledge in regard to my own progression through Zwischenfach repertoire and roles.</p>

Zwischenfach: Paradox or Paradigm?

<p>Singers within the operatic world are expected to conform to the strict limits and dictates of the Fachsystem. Casting directors and opera companies prefer to be informed of which particular ‘Fach-box’ you tick when auditioning and it is becoming increasingly important for career advancement and name recognition to remain within that box. Yet what happens when your voice does not operate strictly within the predetermined requirements of a particular box? Or if the vocal category you supposedly assume is already ambiguous and contentious? Jennifer Allen’s DMA thesis, An Analysis and Discussion of Zwischenfach Voices, provides invaluable critical insight surrounding this enigmatic concept of voice categorisation. Allen argues that despite advances within vocal pedagogy, there remains a ‘gray area’ within the discussion. This elusiveness, to which Allen refers, pertains directly to the Zwischenfach voice type. Translated literally from German, the word Zwischen means ‘between’ and ‘Fach’ refers specifically to vocal specialisation as a way of categorising singers according to the weight, range and colour of their voices. Thus, in its most basic form, a Zwischenfach voice denotes a voice that lies between the vocal categories of soprano and mezzo-soprano. However, whilst Dr Rudolf Kloiber’s Handbuch der Oper (a staple for the operatic world) provides a definitive guide to vocal categorisation and continues to influence casting throughout Germany and Europe, the corresponding American Boldrey Guide acknowledges Zwischenfach as a voice that cannot be classified precisely in one particular Fach or another. This lack of uniform approach highlights not only the potential flexibility of this voice, but also the paradoxical nature of attempting to define a voice that defies standard classification. Indeed, as a young singer currently singing high mezzo-soprano repertoire, I have found the Zwischenfach labelling to be a paradox, for the upper extension of my voice also enables me potentially to sing some soprano roles. Therefore, is it conceivable to postulate that this term is a misnomer and merely highlights the issues associated with being constrained within the Fachsystem? In order to come to terms with these issues, then, my analysis of Zwischenfach labelling requires a separation of voice categorisation and the Fachsystem and an ongoing critique of these systems throughout my exegesis. In an attempt to determine its practicalities, the limits that it can impose, and how its boundaries have not always functioned so neatly, my critique focuses on elements such as convenience, marketability and professional development and life. An exploration of the relevance of aspects such as range, tessitura, passaggi, timbre, agility, physical characteristics, pitch of the speaking voice, and scientific tests is also necessary. Once a definition of Zwischenfach is established, I consider the “in between” nature of this vocal category as I investigate roles that develop out of this into the realm of the heavier, more dramatic voice. Finally, I explore the implications of switching between Fächer and divulge how I incorporate the contradictions within this category with the successful management of the label. The piecing together of existing scholarship surrounding this field of research and the practical application to my own expanding repertoire is invaluable in facilitating the expansion of my knowledge in regard to my own progression through Zwischenfach repertoire and roles.</p>

ROB KEELEY (b. 1960)Five Songs on Poems by Stevie Smith (2000)

This chapter explores British composer and pianist Robert Keeley’s Five Songs on Poems by Stevie Smith (2000). The distinctive flavour of Stevie Smith’s poems—wistful, fey, and mordantly perceptive by turn—is captured in music of fluency and confidence, the subtle layers of the texts unpeeled with skill and empathy. Though the range indicates a mezzo, one or two high-lying repeated fragments do require the special lightness and agility more usually found in sopranos. The lowest notes, however, must have ‘bite’, and a weightier, more dramatic voice will have the advantage in riding the denser textures of the final song. The singer needs to be versatile, able to convey unaffected joy, bitter foreboding, and heart-on-sleeve longing, with the lithe, quirky exuberance of Song No. 3 (‘Le Singe qui swing’) providing a cheerful interlude. In general, lines move easily and cover a wide range. Keeley has a penchant for repeated, catchy ‘motto’ fragments in both voice and piano. These linger in the memory and contribute to a disciplined, clear structural impression.

WILLIAM ALWYN (1905–1985)Mirages (1970)

This chapter looks at William Alwyn’s cycle Mirages. It argues that Alwyn’s concert music should not be overlooked in light of his prolific career. After all, almost every one of the six settings of this cycle is a tour de force for both singer and pianist. Substantial opening and closing movements frame briefer, contrasting songs. The piece suits a dramatic voice capable of a wide range of timbres, and with fine control of vibrato and dynamics. A compelling stage presence will become vital in the performance of this piece. The chapter shows how this musical style is a modernist ‘take’ on romanticism, with standard notation employed. Furthermore, Alwyn used a personal compositional discipline as an alternative to twelve-tone serialism, and was not averse to dissonance.

Performing Power: Violence as Fantasy and Spectacle in Mark O'Rowe's Made in China and Terminus

Mark O'Rowe's work marks a shift in Irish theatrical form and practice, positing his stories in urban landscapes that defy modernist dramatic frames and established linguistic styles. Here, angels and demons roam the earth with lost human souls and, though mythical creatures and influences are frequently made manifest, the connection to the other world does not remove the presence of popular culture – karate movies and salty snacks in particular. But perhaps the most viscerally striking aspect of O'Rowe's dramaturgy stems from the sense of pain, isolation, and trauma his characters embody and enact. His dramatized communities are either in crisis or no longer visible, thereby situating the scope for human connection or reconnection as the prize sought from their struggle – while comedy is not lost, and the ‘skullduggerous’ tone so applauded in Howie the Rookie accompanies these later works alongside an evolved dramatic voice and sense of theatrical form. Miriam Haughton is currently in the second year of her doctoral work on postmodern Irish drama in the School of English, Drama, and Film at University College Dublin. Her research interests include drama studies, Irish studies, anthropology, and sociology.