view of
flexibility and expression voices may be divided into two classes,
_lyric_ and _dramatic_. The latter is more powerful and of greater
range, the former possesses more suppleness and elasticity and is more
readily disposed to different shades of expression. Granted that the
rare combination of the two classes is the composer's ideal, he should
nevertheless be content to follow the main artistic purpose which he
has set out the [Transcriber's Note: to] achieve. In complicated and
important works the composer should bear in mind the characteristics
of the various voices he employs; moreover, if he use two voices of
the same calibre, e.g. 2 Sopranos or 2 Tenors, he should discriminate
between the range and register of their respective parts, writing for
one slightly higher than the other. It is no rare occurrence to meet
with voices of an intermediate character (mezzo-carattere) combining
the qualities of each type to a modified extent. To such voices the
composer may assign roles demanding the characteristics of each class,
especially secondary roles. At the present day, besides the roles
suitable to the dramatic and lyric type of voice, it is customary to
give prominence to those demanding some special qualifications, voices
of a certain tenderness or power, a specified range or degree of
flexibility--attributes decided by the artistic object in view. In
casting secondary and minor roles the composer is advised to employ a
medium range and less exacting demands on technique.

_Note._ After Meyerbeer, who was the first to write for a
special type of heavy mezzo-soprano and baritone, Richard
Wagner created a type of powerful dramatic soprano, of
extensive range, combining the quality and scope of the
soprano and mezzo-soprano voices; likewise a similar type of
tenor, possessing the attributes and compass of the tenor
and baritone together. To demand that voices shall be
equally brilliant and resonant in the high and low register,
that singers shall be endowed with a super-powerful
breathing apparatus and an extraordinary faculty for
resistance to fatigue (Siegfried, Parsifal, Tristan,
Bruenhilda, Kundry, Isolda), is to exact something little
short of the miraculous. Such voices are to be found, but
there are some singers with excellent though not phenomenal
vocal powers, who, by the constant pursuit of Wagnerian
parts endeavour to inc