Jessye Norman - Voice Type

Voice Type

Norman is most often referred to as a dramatic soprano but unlike most dramatic sopranos, Norman has become known for roles more traditionally sung by other types of voices. From her student days Norman had been selective about her repertoire, heeding her own instincts and interests more than the advice of her teachers or requests of her management. In the beginning of her career, this tendency put her at odds with the Deutsche Opera and compelled her to seek out musical works on her own that she felt were more suitable to her vocal skills. Norman told John Gruen of the New York Times, "As for my voice, it cannot be categorized—and I like it that way, because I sing things that would be considered in the dramatic, mezzo or spinto range. I like so many different kinds of music that I've never allowed myself the limitations of one particular range."

Some vocal critics assert that Norman is not a dramatic soprano but has in fact a rare soprano voice type known as a Falcon. The Falcon voice is closer to a mezzo soprano timbre, but closer to a dramatic soprano tessitura. Falcon roles specifically refers to pants roles written to be sung by sopranos instead of mezzos, as was written for Falcon. The roles are thus often sung by lyric mezzos.expand This mix of sound is why many fans, conductors, and critics immediately refer to her as a soprano or a mezzo with complete assurance and fair accuracy. Norman, however, refuses to place any labels on her voice. At the age of twenty-three, when asked by an interviewer in Germany, how she would characterize her voice, she replied that, "pigeonholes are only comfortable for pigeons."

Over the years Norman's technical expertise has been among her most critically praised attributes. In a review of one of her recitals at New York City's Carnegie Hall, New York Times contributor Allen Hughes wrote that Norman "has one of the most opulent voices before the public today, and, as discriminating listeners are aware, her performances are backed by extraordinary preparation, both musical and otherwise." Another Carnegie Hall appearance prompted these words from New York Times contributor Bernard Holland: "If one added up all the things that Jessye Norman does well as a singer, the total would assuredly exceed that of any other soprano before the public. At Miss Norman's recital ... tones were produced, colors manipulated, words projected and interpretive points made—all with fanatic finesse."