Contralto in the context of Countertenor

A castrato (Italian; pl.: castrati) is a male singer who underwent castration before puberty in order to retain a singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice can also occur in one who, due to an endocrinological condition, never reaches sexual maturity.

Castration before puberty (or in its early stages) prevents the larynx from being transformed by the normal physiological events of puberty. As a result, the vocal range of prepubescence (shared by both sexes) is largely retained, and the voice develops into adulthood in a unique way. Prepubescent castration for this purpose diminished greatly in the late 18th century.

Marian Anderson (February 27, 1897 – April 8, 1993) was an American contralto. She performed a wide range of music, from opera to spirituals. Anderson performed with renowned orchestras in major concert and recital venues throughout the United States and Europe between 1925 and 1965.

Anderson was an important figure in the struggle for African-American artists to overcome racial prejudice in the United States during the mid-twentieth century. In 1939, during the period of racial segregation, the Daughters of the American Revolution (DAR) refused to allow Anderson to sing to an integrated audience in Constitution Hall in Washington, D.C. The incident placed Anderson in the spotlight of the international community on a level unusual for a classical musician. With the aid of First Lady Eleanor Roosevelt and her husband, President Franklin D. Roosevelt, Anderson performed a critically acclaimed open-air concert on Easter Sunday, April 9, 1939, on the Lincoln Memorial steps in the capital. The event was featured in the documentary Marian Anderson: The Lincoln Memorial Concert. She sang before an integrated crowd of more than 75,000 people and a radio audience in the millions.

Judy Garland (born Frances Ethel Gumm; June 10, 1922 – June 22, 1969) was an American actress and singer whose career spanned four decades. She is known for her artistic range and strong contralto voice, working in a variety of genres including musicals, comedies and dramas. Her career and personal life, marked by both public fascination and private struggle, made her a cultural icon and gay icon.

Garland began her career at the age of two: performing with her two older sisters as a vaudeville act called the Gumm Sisters. In 1935, aged 13, she signed a contract with Metro-Goldwyn-Mayer (MGM) and was initially cast in supporting roles in ensemble musicals such as Broadway Melody of 1938 (1937) and Thoroughbreds Don't Cry (1937). She achieved international recognition for her portrayal of Dorothy Gale in the musical film The Wizard of Oz (1939). She followed this with leading roles in MGM musicals including Meet Me in St. Louis (1944), Easter Parade (1948), and Summer Stock (1950). She expanded her range with dramatic performances in A Star Is Born (1954) and Judgment at Nuremberg (1961), both of which earned her Academy Award nominations.

"Alexander's Ragtime Band" is a Tin Pan Alley song by American composer Irving Berlin released in 1911; it is often inaccurately cited as his first global hit. Despite its title, the song is a march as opposed to a rag and contains little syncopation. The song is a narrative sequel to Berlin's earlier 1910 composition "Alexander and His Clarinet". This earlier composition recounts the reconciliation between an African-American musician named Alexander Adams and his flame Eliza Johnson as well as highlights Alexander's innovative musical style. Berlin's friend Jack Alexander, a cornet-playing African-American bandleader, inspired the title character.

Emma Carus, a famous contralto renowned for her high lung power, introduced Berlin's song to the public in Spring 1911. Carus' brassy performance of "Alexander's Ragtime Band" at the American Music Hall in Chicago on April 18, 1911, electrified the audience, and she toured other metropolises such as Detroit and New York City with acclaimed performances that featured the catchy tune. Carus' tour showcased the song in the United States and contributed to its immense popularity.

Peter, Paul and Mary was an American folk group formed in New York City in 1961 during the American folk music revival. The trio consisted of Peter Yarrow (guitar, tenor vocals), Paul Stookey (guitar, baritone vocals), and Mary Travers (contralto vocals). The group's repertoire included songs written by Yarrow, Luis Manuel and Stookey, early songs by Bob Dylan, and covers of other folk musicians.

They were very successful in the early- and mid-1960s, with their debut album topping the charts for weeks, and helped popularize the folk music revival. Following Travers's death in 2009, Yarrow and Stookey continued to perform as a duo. Yarrow died in 2025, leaving Stookey the sole surviving member of the group.

Four-part harmony is music written for four voices, or for some other musical medium—four musical instruments or a single keyboard instrument, for example—for which the various musical parts can give a different note for each chord of the music.

The four main voices are typically labelled as soprano (or treble and countertenor), alto (contralto, countertenor or mezzo), tenor, and bass. Because the human voice has a limited range, different voice types are usually not able to sing pitches that lie outside of their specific range.

In theater, a breeches role or breeches part (also pants role, pants part, trouser role, trouser part, and Hosenrolle) is a role in which a female actor performs in male clothing. Breeches, tight-fitting knee-length pants, were a standard male garment when these roles were introduced. The theatrical term travesti covers both this sort of cross-dressing and also male actors dressing as female characters. Both are part of the long history of cross-dressing in music and opera and later in film and television.

In opera, a breeches role refers to any male character that is sung and acted by a female singer. Most often the character is an adolescent or a very young man, sung by a mezzo-soprano or contralto. The operatic concept assumes that the character is male, and the audience accepts him as such, even knowing that the actor is not. Cross-dressing female characters (e.g., Leonore in Fidelio or Gilda in Act III of Rigoletto) are not considered breeches roles. The most frequently performed breeches roles are Cherubino (The Marriage of Figaro), Octavian (Der Rosenkavalier), Hansel (Hansel und Gretel) and Orpheus (Orpheus and Euridice), though the latter was originally written for a male singer, first a castrato and later, in the revised French version, an haute-contre.

Samson and Delilah (French: Samson et Dalila), Op. 47, is a grand opera in three acts and four scenes by Camille Saint-Saëns to a French libretto by Ferdinand Lemaire. It was first performed in Weimar at the Grossherzogliches (Grand Ducal) Theater (now the Staatskapelle Weimar) on 2 December 1877 in a German translation.

The opera is based on the Biblical tale of Samson and Delilah found in Chapter 16 of the Book of Judges in the Old Testament. It is the only opera by Saint-Saëns that is regularly performed. The second act love scene in Delilah's tent is one of the set pieces that define French opera. Two of Delilah's arias are particularly well known: "Printemps qui commence" ("Spring begins") and "Mon cœur s'ouvre à ta voix" ("My heart opens itself to your voice", also known as "Softly awakes my heart"), the latter of which is one of the most popular recital pieces in the mezzo-soprano/contralto repertoire.

Mary Jane "Mae" West (August 17, 1893 – November 22, 1980) was an American actress, singer, comedian, screenwriter, and playwright whose career spanned more than seven decades. Recognized as a prominent sex symbol of her time, she was known for portraying sexually confident characters and for her use of double entendres, often delivering her lines in a distinctive contralto voice. West began performing in vaudeville and on stage in New York City before moving on to film in Los Angeles.

She was frequently associated with controversies over censorship and once stated, "I believe in censorship. I made a fortune out of it." As her film career declined, she remained active by writing books and plays, performing in Las Vegas and London, and appearing on radio and television. In later years, she also released rock and roll recordings. In 1999, the American Film Institute ranked her 15th among the greatest female screen legends of classic American cinema.

The musical term alto, meaning "high" in Italian (from Latin: altus), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In four-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor.

A mezzo-soprano (Italian: [ˌmɛddzosoˈpraːno], lit. 'half soprano'), or mezzo (English: /ˈmɛtsoʊ/ MET-soh), is a type of classical female singing voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-soprano's vocal range usually extends from the A below middle C to the A two octaves above (i.e. A₃–A₅ in scientific pitch notation, where middle C = C₄; 220–880 Hz). In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C (F₃, 175 Hz) and as high as "high C" (C₆, 1047 Hz).The mezzo-soprano voice type is generally divided into coloratura, lyric, and dramatic.

Francesco Bernardi (pronounced [franˈtʃesko berˈnardi]; 31 October 1686 – 27 November 1758), known as Senesino (pronounced [seneˈziːno] or traditionally [seneˈsiːno]), was an Italian contralto castrato, particularly remembered today for his long collaboration with the composer George Frideric Handel. He was also involved in a public scandal with the soprano Anastasia Robinson in 1724, which was circulated widely by the satirist Jonathan Swift, and inspired a number of anonymously-written obscene, misogynistic, and at times sexually subversive epistles written between 1724 and 1736 which have become a topic of study among scholars of Restoration literature.

Le Marteau sans maître (French: [lə maʁto sɑ̃ mɛːtʁ]; The Hammer without a Master) is a chamber cantata by French composer Pierre Boulez. The work, which received its premiere in 1955, sets surrealist poetry by René Char for contralto and six instrumentalists. It is among his most acclaimed compositions.

The Andrews Sisters were an American close harmony singing group of the swing and boogie-woogie eras. The group consisted of three sisters: contralto LaVerne Sophia Andrews (1911–1967), soprano Maxene Anglyn Andrews (1916–1995), and mezzo-soprano Patricia Marie Andrews (1918–2013). The sisters have sold an estimated 80 million records. Their 1941 hit "Boogie Woogie Bugle Boy" can be considered an early example of jump blues. Other songs closely associated with the Andrews Sisters include their first major hit, "Bei Mir Bist Du Schön (Means That You're Grand)" (1937), "Beer Barrel Polka (Roll Out the Barrel)" (1939), "Beat Me Daddy, Eight to the Bar" (1940), "Don't Sit Under the Apple Tree (with Anyone Else but Me)" (1942), and "Rum and Coca-Cola" (1945), which helped introduce American audiences to calypso.

The Andrews Sisters' harmonies and songs are still influential today and have been copied and recorded by entertainers such as Patti Page, Bette Midler, Christina Aguilera, The Pointer Sisters, Pentatonix, and others. The group was among the inaugural inductees to the Vocal Group Hall of Fame upon its opening in 1998. Writing for Bloomberg, Mark Schoifet said the sisters became the most popular female vocal group of the first half of the 20th century. They are still widely acclaimed today for their famous close harmonies. They were inducted into the Minnesota Rock/Country Hall of Fame in May 2006.