In music, the terms additive and divisive are used to distinguish two types of both rhythm and meter:

• A divisive (or, alternately, multiplicative) rhythm is a rhythm in which a larger period of time is divided into smaller rhythmic units or, conversely, some integer unit is regularly multiplied into larger, equal units.

• This can be contrasted with additive rhythm, in which larger periods of time are constructed by concatenating (joining end to end) a series of units into larger units of unequal length, such as a ⁵
  ₈ meter produced by the regular alternation of ²
  ₈ and ³
  ₈ (London 2001, §I.8).

When applied to meters, the terms perfect and imperfect are sometimes used as the equivalents of divisive and additive, respectively (Read 1969, 150).

For example, 4 may be evenly divided by 2 or reached by adding 2 + 2. In contrast, 5 is only evenly divisible by 5 and 1 and may be reached by adding 2 or 3. Thus, ⁴
₈ (or, more commonly, ²
₄) is divisive while ⁵
₈ is additive.

Source: Additive rhythm and divisive rhythm – Wikipedia

Source: Additive meter – Definition (Artopium’s Music Dictionary)

Mode	Tonic relative to major scale	Interval sequence	Example
Ionian	I	W-W-H-W-W-W-H	C-D-E-F-G-A-B-C
Dorian	II	W-H-W-W-W-H-W	D-E-F-G-A-B-C-D
Phrygian	III	H-W-W-W-H-W-W	E-F-G-A-B-C-D-E
Lydian	IV	W-W-W-H-W-W-H	F-G-A-B-C-D-E-F
Mixolydian	V	W-W-H-W-W-H-W	G-A-B-C-D-E-F-G
Aeolian	VI	W-H-W-W-H-W-W	A-B-C-D-E-F-G-A
Locrian	VII	H-W-W-H-W-W-W	B-C-D-E-F-G-A-B

Source: Mode (music) – Wikipedia

E minor is a minor scale based on E, consisting of the pitches E, F♯, G, A, B, C, and D. Its key signature has one sharp. Its relative major is G major and its parallel major is E major.

The E natural minor scale is:

Source: E minor – Wikipedia

Source: A minor – Wikipedia

Tempo rubato ([ˈtɛmpo ruˈbaːto]; “free in the presentation”, Italian for “stolen time”) is a musical term referring to expressive and rhythmic freedom by a slight speeding up and then slowing down of the tempo of a piece at the discretion of the soloist or the conductor. Rubato is an expressive shaping of music that is a part of phrasing.^[1]

While rubato is often loosely taken to mean playing with expressive and rhythmic freedom, it was traditionally used specifically in the context of expression by speeding up and then slowing down the tempo. In the past, expressive and free playing (beyond only rubato) was often associated with the terms “ad libitum.” Rubato, even when not notated, is often used liberally by musicians; e.g. singers frequently use it intuitively to let the tempo of the melody expressively shift slightly and freely above that of the accompaniment. This intuitive shifting leads to rubato’s main effect: to make music sound expressive and natural. Frédéric Chopin is often mentioned in context with rubato (see Chopin’s technique and performance style).

Source: Tempo rubato – Wikipedia

The Firebird (French: L’Oiseau de feu; Russian: Жар-птица, translit. Zhar-ptitsa) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of Sergei Diaghilev‘s Ballets Russes company; the original choreography was by Michel Fokine, with a scenario by Alexandre Benois and Fokine based on the Russian fairy tales of the Firebird and the blessing and curse it possesses for its owner. When first performed at the Opéra de Paris on 25 June 1910, the work was an instant success with both audience and critics.

The ballet has historic significance not only as Stravinsky’s breakthrough piece, but also as the beginning of the collaboration between Diaghilev and Stravinsky that would also produce the acclaimed ballets Petrushka (1911) and The Rite of Spring (1913).

Source: The Firebird – Wikipedia

Lyric Coloratura Soprano: Beverly Sills, Natalie Dessay, Lily Pons,
Dramatic Coloratura Soprano: Joan Sutherland, Edda Moser, Rita Shane
Light Lyric Soprano: Annick Massis, Dawn Upshaw, Barbara Bonney,
Full Lyric Soprano: Anna Moffo, Renee Fleming, Elisabeth Schwarzkopf, Kiri Te Kanawa
Spinto Soprano: Martina Arroyo, Leontyne Price, Sondra Radvanovsky, Renata Tebaldi
Dramatic Soprano: Ghena Dmitrova, Kirsten Flagstad, Helen Traubel, Eva Marton

coloratura mezzo: Joyce di Donato, Cecilia Bartoli, Malena Ernman
lyric mezzo: Janet Baker, Jennifer Larmore, Elina Garanca
dramatic mezzo: Elena Obraztsova, Viorica Cortez, Dolora Zajick, Milla Edelman

contralto: Ewa Podles, Maureen Forrester, Kathleen Ferrier, Marian Anderson

tenor leggiero: Juan Diego Flores, Rockwell Blake, John McCormick
lyric tenor: Luciano Pavarotti, Nicolai Gedda, Giuseppe di Stefano, Jussi Bjorling
spinto tenor: Jonas Kaufmann, Franco Corelli, Anatoly Solovyanenko, John Alexander
dramatic tenor: Mario del Monaco, Giuseppe Giacomini, Enrico Caruso,

lyric baritone: Herman Prey, Dietrich Fischer-Dieskau, Peter Mattei, Thomas Allen
dramatic baritone: Tito Gobbi, Cornel Macneil, Mykola Kondratyuk, Nicolae Herlea

bass-baritone: Byrn Terfel, Willard White, Hans Hotter, Ilabrando D’arcangelo
basso cantante: Samuel Ramey, Nicolai Ghiaurov, Jerome Hines
basso profondo: Paul Robeson, Boris Shtokolov, Boris Christoff

https://www.talkclassical.com/38991-lyric-vs-dramatic-voices-2.html