Finally, I would divide vocal talent into a basic ability to vocalize aesthetically, avoiding strangulated, shrill, nasal or „retching“ sounds, and the additional ability to use the voice economically and securely in all its registers and using the full spectrum of dynamics.
Whereas for a pop singer, the first component is more important, an opera singer wanting to make career primarily requires the second. Because being able to sing melodiously in a comfortable range doesn’t mean you necessarily have a well-functioning, “open” voice. I myself had no problem with the first aspect, right from the start, but I needed more than 20 years to master the second.
In the opera, especially, you come across extraordinarily talented people who have fantastically voluminous, open voices, but who are not really able to sing a simple song pleasingly, even in a comfortable range.