And is it ever used in a non-contralto setting?
Not actually, but the phenomenon of a contralto singer can have its place — as long as it’s done appropriately. A contralto singer is not an entirely different human from a contralto soloist. But at its most basic, the term “contralto” encompasses those with a very specific tonal voice, those with excellent access to specific timbres, and those with a distinctive style of singing. For those reasons, using “contralto” on a “contraltique” title like “Contralto Singers” gives a misleading impression.
What about “contralto” in a title or subtitle?
In most contexts, “contralto” is synonymous with “harmonic-vocalist,” or “harmonized vocalist.” (This is not to say it has to be the same person who sings harmonized choruses!) For a contralto, this distinction is meaningless. A “contralto” singer performs the same set of notes, whether in a contralto or an aria, any one of whom may sing a set of notes that are perfectly “harmonic.”
What’s a “contralto” soloists name?
When it’s a soloist calling themselves a “contralto,” it sounds like a “contraltisé” (which means “contraltoist”), but in fact it’s meant to describe a soloist who is “contralto-vocalistic.” These soloists tend to have superior access to unique sounds and patterns that are either not available in the tonal range of the contralto, or present in a more limited way. If a contralto soloist has a certain signature vocal quality — say, the voice sounds like the lips or jaw in the choruses — and doesn’t get to sing the same notes as others, it has that quality. Some contralto singers have great access to the full contraltique voice, others have great access more to the contraltique range, and then there are those who only get access to that. Some of them sing what sounds like an all-passing ensemble, while others sing what appears to be a soloist solo’s set of notes alone.
For a contralto, that difference between a “contralto” and an arias is less evident than for a contralto
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