The many young voices were very varied and were singing very appropriate repertoire. The experience crystalized in my mind why a correct vocal categorization is crucial, even at an early stage. Because these young students in their very early 20s are taught so well, it was possible to hear the true nature of the voices.
As explained in the last blog, there are two kinds of sopranos: High-tessitura and Low-tessitura.
Dramatic Soprano: The term, dramatic soprano has become too commonly used. Any young singer who develops a full voice these days starts to look at Wagner. It is a shame! True dramatic voices often do not come about because spintos or even full lyrics are calling themselves dramatic. It is because many believe that they will have a better chance if they present themselves in a heavier category. Like in boxing, light-weights get crushed if they fight in the heavyweight category. Roles like Beethoven's Leonore, Sieglinde, Senta, Ariadne, Isolde, Chrysothemis, Färberin (Frau ohne Schatten), etc are meant for lower tessitura sopranos with very large voices and who are able to venture into the highest range (but not necessarily live there).