Litvinne was regarded widely as being one of the greatest dramatic sopranos of the late 19th century and the early 20th century.
Nonetheless, she did achieve considerable success on 78-rpm gramophone records, being one of the first lyric-dramatic sopranos whose voice recorded well.
In writings of the time, the male soprano begins to be depicted as ghoulish or nightmarish, as though inhabiting a dream.
The movement demands perfect tuning with straight tone singing all while maintaining a high tessitura for the sopranos, tenors, and basses.
Choirbooks were generally put on a stand with the smaller boy sopranos in front and the men in back.
Her clear tone and lack of continuous vibrato were echoed by other sopranos of the period.
The alto, tenor, and bass voices sing free counterpoint, while the sopranos sing the chorale unadorned in long notes.
Until 2011, the group consisted of eight voices: two sopranos, two altos, two tenors and two basses.
