Marian Anderson, a victim of racial discrimination, brought insight into the human condition to all her performances.

Excelling in opera, oratorio, concert and recital, Janet Baker was the possessor of a voice that could be both radiant and somber in repertoire extending from Monteverdi to Mahler.

Fedora Barbieri, one of the greatest Italian mezzos, possessed a gleaming top and an earthy chest register.

Karin Branzell was the preferred gal pal for the leading Wagnerian sopranos of her day.

Fiorenza Cossotto, the last of the great Italian dramatic mezzos, was both smoke and fire in many vibrant performances.

Brigitte Fassbaender, at home in opera, concert and recital, will always be 'the' Octavian to my eyes and ears.

Maureen Forrester, another great contralto, was equally at home in Bach as in Wagner.

Margarete Klose was one of the great Wagnerian mezzos of the pre-war era.

From Mozart to Mahler to Wagner, Christa Ludwig was the pre-eminent German mezzo of her era.

Elena Obraztsova, the baritone of Russian mezzos, was pure vocal muscle - try and listen to her sitting down.

Ebe Stignani, one of the first recorded in a long line of great Italian mezzos, was one of the greatest Verdi singers of all time.

Her career sadly cut short by cancer, Tatiana Troyanos excelled in every aspect of the operatic mezzo arena: boys, bags, b*****s and beauties.

With a tear always present in her vocal quality, Frederica von Stade could move an audience in repertoire extending from Monteverdi to Mozart and in roles from both the bel canto and French schools.