Why do the roles of mothers, maids and villainess often fall into the as mezzo-soprano range? And why are leading roles so often written for tenors and sopranos? Do basses ever get the chance to be the “leading man”? Each of us has a voice that’s uniquely our own, with its own tone, colour and personality.
In Western classical music, voices are generally divided into four categories: soprano, alto, tenor and bass. That is just a rough guide based on vocal range, but in fact, there is a lot more to it than that. Some go further, looking into tone quality, vocal colour, tessitura, resonance, and even how a role’s dramatic demands shape the choice of voice. That is why we end up with all sorts of labels like coloratura, lyric, buffo, dramatic and heroic, making the world of voices wonderfully rich and full of surprises.
In the Vocal Lecture Series: The Human Voice in 4 Parts, the speaker will lead participants on a journey through the four main voice types (in the order of B, A, S, T) to explore how each one brings a different kind of character to life on the opera stage. We will look at how composers decide which voice suits which role, and get to know some of the great singers who have become legends in their respective categories. Together, we will discover what makes their voices so distinctive and enjoy some of their unforgettable performances.
Curator / Speaker: Chan Siu-kwan
7 Jan 2026 (Wed)
Lecture 1: Bass
Is every man who can’t hit high notes automatically a bass? Well, not quite. Between the tenor and the bass lies the baritone, and even that can be further divided into high and low baritones. We’ll find out what makes them different, and whether baritones or basses ever get to be the “leading man”.
14 Jan 2026 (Wed)
Lecture 2: Alto
Why do the roles of mothers, maids and villainesses so often fall into the mezzo-soprano or contralto range? And what are countertenors? They are fascinating male singers who sound almost like female altos? We’ll find out.
21 Jan 2026 (Wed)
Lecture 3: Soprano
Why is the soprano so often the “leading lady”? And does she always have to be the “good” one? Whether noble and elegant, tender and heartbroken, or strong and commanding — the soprano voice leaves her mark on every kind of role imaginable.
28 Jan 2026 (Wed)
Lecture 4: Tenor
In the great Italian operas of the Romantic era, the leading man is almost always a tenor. What makes this voice type so irresistibly charming? And why is the famous “High C” such a prized gift among tenors?
(Information provided by the speaker)
Conducted in Cantonese. Each lecture will run for about 1 hour and 30 minutes. Free seating.
The programme does not represent the views of the Leisure and Cultural Services Department.
The presenter reserves the right to change the programme.
In Western classical music, voices are generally divided into four categories: soprano, alto, tenor and bass. That is just a rough guide based on vocal range, but in fact, there is a lot more to it than that. Some go further, looking into tone quality, vocal colour, tessitura, resonance, and even how a role’s dramatic demands shape the choice of voice. That is why we end up with all sorts of labels like coloratura, lyric, buffo, dramatic and heroic, making the world of voices wonderfully rich and full of surprises.
In the Vocal Lecture Series: The Human Voice in 4 Parts, the speaker will lead participants on a journey through the four main voice types (in the order of B, A, S, T) to explore how each one brings a different kind of character to life on the opera stage. We will look at how composers decide which voice suits which role, and get to know some of the great singers who have become legends in their respective categories. Together, we will discover what makes their voices so distinctive and enjoy some of their unforgettable performances.
Curator / Speaker: Chan Siu-kwan
7 Jan 2026 (Wed)
Lecture 1: Bass
Is every man who can’t hit high notes automatically a bass? Well, not quite. Between the tenor and the bass lies the baritone, and even that can be further divided into high and low baritones. We’ll find out what makes them different, and whether baritones or basses ever get to be the “leading man”.
14 Jan 2026 (Wed)
Lecture 2: Alto
Why do the roles of mothers, maids and villainesses so often fall into the mezzo-soprano or contralto range? And what are countertenors? They are fascinating male singers who sound almost like female altos? We’ll find out.
21 Jan 2026 (Wed)
Lecture 3: Soprano
Why is the soprano so often the “leading lady”? And does she always have to be the “good” one? Whether noble and elegant, tender and heartbroken, or strong and commanding — the soprano voice leaves her mark on every kind of role imaginable.
28 Jan 2026 (Wed)
Lecture 4: Tenor
In the great Italian operas of the Romantic era, the leading man is almost always a tenor. What makes this voice type so irresistibly charming? And why is the famous “High C” such a prized gift among tenors?
(Information provided by the speaker)
Conducted in Cantonese. Each lecture will run for about 1 hour and 30 minutes. Free seating.
The programme does not represent the views of the Leisure and Cultural Services Department.
The presenter reserves the right to change the programme.