When I sang second alto in choirs, I liked hearing the high, lilting first soprano descant, its own melody above the others, like an angel.
Sopranoes often err in being sharp, overeager to hit high notes; but when they’re in key, it’s like a transcendent experience listening.

As the counterpoint, I love bass and tenor harmonies in a male chorus: so much masculinity is a turn-on for women. (Not in a head-thrown-back way, but admiration and aesthetic pleasure, as complementarity to our femininity.)