Beagle On Stage wrote:
Several of the vocal ranges listed on the MTI website for "Beauty and the Beast" are not accurate. A lot of it is due to the fact that in choral parts, each character is specifically assigned which line to sing, but some of it is just solo stuff that they've apparently missed. I've gone through the licensed score, and these are the ranges as they actually appear there.
Note, however, that the terms like soprano and baritone are just my own judgements of what would be best, most comfortable, etc., but are not necessarily the be-all and end-all, since most roles in the show are pretty rangey. Also, many of these notes are hit chorally, as I've said, so bear in mind that they aren't necessarily all belted out all by oneself.
I've gotten more in-depth on some of them to clarify what is required. Know that the choral notes I'll be mentioning a lot may or may not be flexible depending on your production. Your MD may be a stickler to assign stuff as written, or they may just break into SATB and have you do what's comfortable. But be aware that you may have to do it.
BELLE: Mezzo (Low, low E [4 spaces below staff] to High F)
This is probably the rangiest part in the show. Usually she doesn't need anything lower than an A, but the low G slips in at the beginning of "Home," and the naughty E is in "A Change in Me" (which isn't on the CD). She's in the upper midrange quite a bit, so make sure you have solid D's and E's. The F's are rare but also need to be solid ("There must be more than this provincial life" and "You're all I've got, no matter what").
BEAST: Baritone (Low A to High A-flat)
The common misconception is that he only goes to a high F. Not true. His A-flat occurs in the little "If I Can't Love Her" reprise between he and Belle after the transformation ("One thing forever true: I love you"). It's only once and doesn't have to be belted, but be aware. Otherwise, he's pretty straight-across baritone.
MAURICE: Baritone (Low B-flat to High D-flat)
This shouldn't be too challenging of a range. Maurice only sings in two songs, "No Matter What" and the reprise of the same name, and they're both very general midrange.
LUMIERE: Tenor/Baritone (Low F-sharp to High F-sharp)
Know that Lumiere speak-sings about half of his singing. The little X'd notes are all over the score in his parts. He probably has the most singing of any of the enchanted objects, but most of it is actually character-voiced. Predominately midrange, but he does reach both up and down quite a bit.
COGSWORTH: Tenor/Baritone (Low F-sharp to High G)
Everyone's favorite clock doesn't sing much solo. His one verse in "Human Again" is upper-midrage, going from about low D to high E. Chorally, he's also written in as having both extremes of his range. Not a difficult part to sing by any means, just rangey.
MRS. POTTS: Mezzo (Low F-sharp to High G)
Girlfriend goes looooowwwww. The title song is pitched very low, requiring her low F-sharp and low G all the time. But if you're a really deep alto, you may also have trouble, as she needs a solid E pretty often ("Clean it up, we want the company impressed") and even a high G ("Be our guest, be our guest, be our guest" in that same verse), although you could probably get around this if you had to. It's between her and Belle as to who is rangiest, and it's very close. Mrs. Potts needs to be versatile.
WARDROBE: Mezzo (Low F-sharp to High G)
Her only solo is the same verse as Cogsworth but about one whole step lower. Her F-sharp is the same choral one as his, and her high G occurs when she's surprising people during the castle attack. In theory, it could probably be anything shrill and loud and operatic, but a G is written, so be aware of it.
BABETTE: Soprano (Low F-sharp to Top C)
Babette really doesn't sing much solo. She has one line ("Alert the dustpail and broom") which is middle C and just above. But she has a few obligattos that need top C's, and whenever there's one written chorally, she's assigned to it. Her low F-sharp is the same as Cogsie and Wardie's.
CHIP: Soprano (Low F-sharp to High G)
Basic cute little boy soprano. Pretty much midrange, but there is a high G in there, and one guess where the low F-sharp comes in.
GASTON: Baritone (Low A to High F)
This is rangey too. You need to be powerful throughout the whole range. No dainty tenor low A, and likewise no raspy bass high F. Very rich tone on everything.
LE FOU: Tenor/Baritone (Low B to High G)
I'm inclined to say tenor because this jumps all over E, F and G. But I hate being told it's tenor when there's actually a B to get down to, so be aware of that. Of course, you'll likely be expected to do it character voice, so it doesn't have to be hardcore technical note-hitting by any means.
M. D'ARQUE: Tenor (Low D to High A)
No surprises here. Straight across the table low D to high A. But this might be character voice too, depending on the production. Again, the more extreme notes are sung chorally.