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The lower notes are the (so-called) "chest" register; the middle ones, between the breaks, the "falsetto," and the upper ones the "head" notes. I shall speak of these often-used and frequently-misapplied words presently; I merely mention them now for the sake of pointing out to soprani, what many young lady amateurs utterly ignore, that they have these "breaks," and possess "chest," "falsetto," and "head" notes, as well as male singers.
Soprano voices are frequently capable of great flexibility, and passages are easy to them which tax the powers even of a light mezzo-soprano severely. The high notes, especially, are in many cases easily produced in a staccato manner, like notes of a piccolo flute, and an effect is thus made, which, though pretty and pleasing if judiciously employed, becomes a great snare to many singers, who for the sake of astonishing their audience work the upper part of their voices unfairly, and, neglecting steady use and practice of the lower registers, will very soon find that they have weakened the power and thinned the tone of the whole voice.
But there are many voices of pure soprano tone which lack this flexibility: let the fair owners console themselves with the recollection that good sostenuto singing is quite as pleasing, in the long run, as displays of vocal gymnastics. You may not be able to attempt the "Dinorah" Shadow Song, or the "Rejoice Greatly" in the "Messiah," but you will find that you have plenty of good work left for you in such music as "Dove Sono," "Deh vieni, non tardar" ("Figaro"), or "Jerusalem" ("St. Paul").
Moreover, you may possibly have what is a much rarer gift (in a pure soprano) than flexibility—you may have a tone of voice capable of executing declamatory music with fine effect. Music of this kind is generally appropriated by some mezzo-soprano of high compass, and more properly belongs to voices of that class; nevertheless, the effect of sustained declamatory music, well executed by a real soprano, is unrivalled in its way.
Mezzo-Soprano.—The mezzo-soprano voice is perhaps the commonest of all female voices, and yet one of the rarest met with in perfection. It is fuller and rounder in quality than the soprano—less flexible, and more adapted to a sostenuto or declamatory style. Mezzo-soprano voices vary so much that it is difficult to name any note on which the "break" will be found. Sometimes it is on the same notes as a soprano—sometimes on the same as a contralto—on the average, perhaps, nearer the former. Wherever it may be, however, a judicious teacher will soon point it out, and put the student into the way of rightly treating it. Teaching, and good teaching, is especially necessary for voices of this class, for their fortunate possessors are generally ignorant of the value of the treasure which they possess in a good mezzo-soprano; and if it be of light quality, they fancy themselves soprani, and force the upper register of the voice in trying to "stretch their compass;" or if their low notes develop first, they think that "with practice" they are to be contralti; and by over-exercise and fondness for displaying those deep notes, they run the risk of widening the break, and rendering the quality of the whole voice hopelessly uneven.
What lies within the sphere of a good mezzo-soprano has been shown in late years by a Grisi and a Tietjens, the latter of whom will live in the recollection of all who ever heard her, as the perfect model for every mezzo-soprano in the production of the pure tone and even quality.
Mezzo-Contralto.—The name mezzo-contralto speaks for itself. It is by no means an uncommon voice, and if used with discrimination is an effective and useful one. Both in compass and quality it lies between the contralto and the mezzo-soprano. Heavier in tone, less resonant, and less flexible than the mezzo-soprano, it is yet lighter than the contralto. Pure contralto voices are so rare that many mezzo-contralto singers appear as exponents of contralto music, and by paying chief attention to the lower register of their voices, they become fair imitations, and more than passable substitutes, for the real article. The possessor of this voice must be guided by the advice of a good teacher as to the direction in which her voice should be trained. Sometimes the natural quality of the voice renders it advisable to attempt rivalry with the mezzo-soprano, rather than with the contralto; sometimes the reverse. It is a question for decision by a competent adviser in each individual case, and therefore I shall not attempt to lay down any decided rule, except my oft-repeated one, "Go to a master, and a first rate-one,"—a point on which I shall have more to say further on. How impossible it is to lay down rules for a mezzo-contralto is shown by the fact that an eminent living "mezzo-contralto" is gladly accepted on our opera stage as a leading contralto, and yet succeeds admirably in such a part as Rossini wrote for a mezzo-soprano of the most florid kind—Rosina in "Il Barbiere."