Okay

Let me rephrase this, after some thought: I definitely think that there are more lighter voices working in the field than there are of the heaviest of the voice types. I can't possibly say whether that's because I know for certain that some voices are more rare than others, though I believe this to be true. HT mentioned contraltos and basso profundos, and sure, there definitely aren't many of them out there.

That said, I also definitely agree with you that the "easier" voices, the ones that clean up at a younger age and sound ready faster get more encouragement and probably more opportunities earlier on. People do not know what to do with a young, big voice. It's true. They're not marketable as soon; they've got all this junk to work out before they're ready to sing, and nobody wants to wait around for their voice to finish arriving and settling into place. In this cult of youth that the operatic sphere has become, what is a 25-year-old dramatic soprano supposed to sing or do with herself? A YAP won't take her if she can't sing Pamina in their school touring show, and she isn't ready to cover Aida on the company's mainstage, because while Pamina is too small, the voice doesn't have the stamina for something like Aida just yet. Meanwhile, she waits, the voice grows and settles, next thing you know and she's 32, ready to roll, and too old for everything. Now YAPs don't want her because she doesn't have any stage experience. Eventually she gives up and moves into another professional, because she's been wasting her money on app fees for the past 12 years.

It almost doesn't even matter whether they're more rare or not in the end!