The Baritone Voice

The Baritone Voice.The baritone voice is lower than the tenor but higher than the bass. It is the the most common male vocal range. In operas, baritones may play the role of either the main character or the supporting character. The different voices are classified not only by their particular range but also by the richness or depth of the voice. Here is more information about the baritone voice. Type of Singing Voice: Baritone Definition: The baritone voice is the most common male vocal range. It is higher than the bass but lower than the tenor. In Western music, (at the end of the 15th century) composers started to add lower-pitched voices to their compositions. That was the first time the word baritonans was used in Western polyphonic music. Range: It typically has a range from A to F but may extend in either directions. Word Origin: It comes from the Greek word barytonos which means “deep-sounding”. It is believed that the German composers were the ones who contributed mostly to the popularity of the baritone voice by utilizing characters in operas where the bartione voice is needed. Famous Baritones: Some of the most famous baritones of the past are: Umberto Urbano, Carlo Drago Hrzic and Celestino Sarobe. Roles of Baritones in Famous Operas: In the musical adaptation of Shakespeare's Hamlet, the role of Hamlet is played using a baritone voice. In Richard Wagner's opera, Tannhäuser, the role of Wolfram von Eschenbach is played using the baritone voice as well as in Giuseppe Verdi's Nabucco where the character of Nabucco is played using the baritone voice. Baritone (or barytone) is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Originally from the Greek , meaning deep (or heavy) sounding, music for this voice is typically written in the range from the second F below middle C to the F above middle C (i.e. F2–F4) in choral music, and from the second G below middle C to the G above middle C (G2 to G4) in operatic music, but can be extended at either end. History The first use of the term "baritone" emerged as baritonans late in the 15th century, usually in French sacred polyphonic music. At this early stage it was frequently used as the lowest of the voices (including the bass), but in 17th century Italy the term was all-encompassing and used to describe the average male choral voice. Baritones took roughly the range we know today at the beginning of the 18th century but they were still lumped in with their bass colleagues until well into the 19th century. Indeed, many operatic works of the 18th century have roles marked as bass that in reality are low baritone roles (or bass-baritone parts in modern parlance). Examples of this are to be found, for instance, in the operas and oratorios of George Frideric Handel . The greatest and most enduring parts for baritones in 18th-century operatic music were composed by Wolfgang Amadeus Mozart . They include Count Almaviva in The Marriage of Figaro , Guglielmo in Così fan tutte , Papageno in The Magic Flute and the Don in Don Giovanni . With some exceptions, most operatic baritones are villains. A good rule of thumb is the darker and heavier the voice, the meaner and nastier the character. 19th century The bel canto style of vocalism which arose in Italy in the early 19th century supplanted the castrato -dominated opera seria of the previous century. It led to the baritone being viewed as a separate voice category from the bass. Traditionally, basses in operas had been cast as authority figures such as a king or high priest; but with the advent of the more fluid baritone voice, the roles allotted by composers to lower male voices expanded in the direction of trusted companions or even romantic leads—normally the province of tenors. More often than not, however, baritones found themselves portraying villains. The principal composers of bel canto opera are considered to be: • Gioachino Rossini (The Barber of Seville , William Tell ); • Gaetano Donizetti (Don Pasquale , L'elisir d'amore , Lucia di Lammermoor , Lucrezia Borgia , La favorite ); • Vincenzo Bellini (I puritani , Norma ); • Giacomo Meyerbeer (Les Huguenots ); and • the young Giuseppe Verdi (Nabucco , Ernani , Macbeth , Rigoletto , La traviata , Il trovatore ). The prolific operas of these composers, plus the works of Verdi's maturity, such as Un ballo in maschera , La forza del destino , Don Carlos /Don Carlo, the revised Simon Boccanegra , Aida , Otello and Falstaff , blazed many new and rewarding performance pathways for baritones. Figaro in Il barbiere is often called the first true baritone role. However, Donizetti and Verdi in their vocal writing went on to emphasise the top fifth of the baritone voice, rather than its lower notes—thus generating a more brilliant sound. Further pathways opened up when the musically complex and physically demanding operas of Richard Wagner began to enter the mainstream repertory of the world's opera houses during the second half of the 19th century. The major international baritone of the first half of the 19th century was the Italian Antonio Tamburini (1800–1876). He was a famous Don Giovanni in Mozart's eponymous opera as well as being a Bellini and Donizetti specialist. Commentators praised his voice for its beauty, flexibility and smooth tonal emission, which are the hallmarks of a bel canto singer. Tamburini's range, however, was probably closer to that of a bass-baritone than to that of a modern "Verdi baritone". His French equivalent was Henri-Bernard Dabadie , who was a mainstay of the Paris Opera between 1819 and 1836 and the creator of several major Rossinian baritone roles, including Guillaume Tell. Dabadie sang in Italy, too, where he was the first Belcore in 1832. The most important of Tamburini's Italianate successors were all Verdians. They included Giorgio Ronconi , who created the title role in Verdi's Nabucco; Felice Varesi , who created the title roles in Verdi's Macbeth and Rigoletto and was the first Germont in La traviata ; Antonio Superchi , who created Don Carlo is Verdi's Ernani ; Francesco Graziani , who created Don Carlo in Verdi's La forza del destino; Leone Giraldoni , who created Renato in Verdi's Un ballo in maschera and was the first Simon Boccanegra; Enrico Delle Sedie , who was London's first Renato; Adriano Pantaleoni, who was renowned for his performances as Amonasro in Aida and in other Verdi works at La Scala a much lauded singer in Milan. he created the part of Ford in Verdi's last opera. Victor Maurel (the creator of Verdi's Iago. the gramophone was invented early enough to capture on disc the voices of the top Italian Verdi and Donizetti baritones of the last two decades of the 19th century. Giuseppe Kaschmann (born Josip Kašman and who. sang Wagner's Telramund and Amfortas not in Italian but in German. and. Francesco Pandolfini. Luckily. who sang Verdi to acclaim in the United States. Meanwhile. among others. In 1893. who later settled in Russia and taught voice. Mario Ancona (chosen to be the first Silvio in Pagliacci ). Donizetti and Paer . and Maurice Renaud . They included Mattia Battistini (known as the "King of Baritones"). Antonio Cotogni . In France. too. Among the non-Italian born baritones that were active in the third-quarter of the 19th century. and. Antonio PiniCorsi was the standout Italian buffo baritone in the period between circa 1880 and World War I . Antonio Scotti . Camille Everardi . the first Italian Posa in Verdi's Don Carlo and later a great vocal pedagogue. Tamburini's mantle as an outstanding exponent of Mozart and Donizetti's music was probably taken up most faithfully by a Belgian. London and Saint Petersburg. Giuseppe Pacini. Giuseppe Campanari . he also sang in Italy and created an important Donizetti role: in his case. at the Bayreuth Festival . Milan. whose singing at La Scala during the 1870s was praised by Verdi. Like Dabadie. Paul Lhérie (the first Posa in the revised. Paul Barroilhet succeeded Dabadie as the Paris opera's best known baritone. Antonio Magini-Coletti . atypically for his kind. Falstaff and Tonio in Leoncavallo 's Pagliacci). whose operatic performances were characterized by considerable re-creative freedom and a high degree of technical finish. (who came to the Met from Europe in 1899 and remained on the roster of singers until 1933!). Italian-language version of Don Carlos ).. He revelled in comic opera parts by Rossini. Alphonse in La Favorite (in 1840). Falstaff. in the 1890s). Notable among their contemporaries were the cultured and technically adroit French baritones Jean Lassalle (hailed as the most accomplished baritone of his generation). Giuseppe Del Puente. too. Franz Betz and Theodor Reichmann. (Cotogni and Marconi had sung together in the first London performance of Amilcare Ponchielli 's La Gioconda in 1883.(a singing-actor of the first magnitude). He was still giving critically acclaimed concerts in London in the 1890s. a contemporary of Faure's. briefly and dimly. A couple of primitive cylinder recordings dating from about 1900 have been attributed by collectors to the dominant French baritone of the 1860s and 1870s. Jean-Baptiste Faure (1830–1914). Henry Albers and Charles Gilibert of the Opéra-Comique. at the age of 77. Perhaps the most accomplished Heldenbaritons of Wagner's day were August Kindermann . The Quaker baritone David Bispham . The oldest-born star baritone known for sure to have made solo gramophone discs was the Englishman Sir Charles Santley (1834–1922). wrote Valentine's aria "Even bravest heart" for him in 1864. during the early days of the gramophone/phonograph were Léon Melchissédec and Jean Note of the Paris Opera and Gabriel Soulacroix . on a duet recording with the tenor Francesco Marconi . These include the light and tenorish baryton-Martin. Charles Gounod . was the leading American male singer of this generation. Betz created Hans Sachs in Die Meistersinger and undertook Wotan in the first Der Ring des Nibelungen cycle at Bayreuth . (1831–1918)—probably the foremost Italian baritone of his generation—can be heard. while Reichmann created Amfortas in Parsifal . The composer of Faust . It is doubtful. Santley made his operatic debut in Italy in 1858 and became one of Covent Garden's leading singers. and the deeper. Maurel and Renaud enjoyed superlative careers on either side of the Atlantic and left a valuable legacy of recordings. However. also at Bayreuth. however. He also recorded for the gramophone. who sang in London and New York between 1891 and 1903. Lassalle. named after French singer Jean-Blaise Martin (1768/69–1837).) There are 19th century references in the musical literature to certain baritone sub-types. Five other significant Francophone baritones who recorded. performing the roles of Barnaba and Enzo respectively. the creator of Posa in Verdi's original French-language version of Don Carlos. that Faure (who retired in 1886) made the cylinders. Lyric German baritones sang lighter Wagnerian roles such as Wolfram in Tannhäuser . more powerful Heldenbariton (today's bass-baritone) of Wagnerian opera. Antonio Cotogni. Kurwenal in Tristan und Isolde or Telramund in Lohengrin . . Russian composers included substantial baritone parts in their operas. These included Nelusko in L'Africaine (Meyerbeer's last opera). the Priest of Dagon in Samson and Delilah . with Franz Schubert favouring several baritones for his vocal music. Mozart continued to be sung throughout the 19th century although. generally speaking. This did not prevent the French master of operetta. Back then. They were given comic parts in the tradition of the previous century's comic bass by Gilbert and Sullivan in many of their productions. Zurga in Les pêcheurs de perles .arguably Mozart's greatest male operatic creation. 20th century The dawn of the 20th century opened up more opportunities for baritones than ever before as a taste for strenuously . from assigning the villain's role in The Tales of Hoffmann to a big-voiced baritone for the sake of dramatic effect. Witness the title roles in Peter Tchaikovsky 's Eugene Onegin (which received its first production in 1879) and Alexander Borodin 's Prince Igor (1890). Nineteenth-century operetta s became the preserve of lightweight baritone voices. Famous Dons of the late 19th and early 20th centuries included Scotti and Maurel (see the photograph accompanying this article). Camille Saint-Saëns . as well as Portugal's Francisco d'Andrade and Sweden's John Forsell . Hector Berlioz . in the performance of art song and oratorio. too. Jacques Offenbach . his operas were not revered to the same extent that they are today by music critics and audiences. Georges Bizet and Jules Massenet wrote attractive parts for baritones. too. They made large strides. Escamillo in Carmen . Mephistopheles in La damnation de Faust (a role also sung by basses). Lescaut in Manon . baritones rather than high basses normally sang Don Giovanni . in particular Johann Michael Vogl . Athanael in Thaïs and Herod in Hérodiade . Other 19th-century French composers like Meyerbeer. exciting vocalism and lurid. Outside the field of Italian opera. Then. Mario Sammarco (the first Gerard in Andrea Chénier ). In a separate development. where there was a major Verdi revival in Berlin between the Wars. in 1925. England and America (in Chicago and later at the Met). however. Verdi's works continued to remain popular. Riccardo Stracciari (noted for his richly attractive timbre ) and Domenico Viglione-Borghesi. any other era. Pietro Mascagni . Ruffo was the most commanding Italian baritone of his era or. whose voice was exceeded in size only by that of the lion-voiced Titta Ruffo . Eugenio Giraldoni (the first Scarpia in Tosca ). Between them. with the pivotal part of John the Baptist assigned to a baritone. The chief verismo composers were Giacomo Puccini . arguably. This was the premiere of Richard Strauss 's Salome . an important addition to the Austro-German repertory occurred in 1905. interestingly enough. Germany's Leo Schützendorf created the title baritone role in Alban Berg 's harrowing Wozzeck . a Wagner specialist. Pasquale Amato (the first Rance in La fanciulla del West ). sang John when the opera reached the Met in 1907). Alberto Franchetti . Ruggero Leoncavallo . these baritones established the echt performance style for baritones undertaking roles in verismo operas. the United States and the United Kingdom and. Umberto Giordano and Francesco Cilea . The most prominent verismo baritones included such major singers in Europe and America as the polished Giuseppe De Luca (the first Sharpless in Madama Butterfly ). (The enormous-voiced Dutch baritone Anton van Rooy . the French composer Claude Debussy . the Spanish-speaking countries. Germany. with audiences in Italy. He was at his prime from the early 1900s to the early 1920s and enjoyed success in Italy. "slice-of-life" operatic plots took hold in Italy and spread elsewhere. (The last named baritone retired as late as 1958. van Rooy. he was being hailed as the top Wagnerian bass-baritone in the world. Mariano Stabile . however. Giuseppe Danise. His Wotan was especially praised by critics for its musicianship. This was the case with Germany's Hans Hotter .) Characteristic of the Wagner ian baritones of the 20th century was a general progression of individual singers from higher-lying baritone parts to lower-pitched ones. among others. Umberto Urbano. Willi Domgraf-Fassbaender . Heinrich Schlusnus (the owner of an exceptionally beautiful voice). (Dufranne — sometimes classed as a bass-baritone — had a darker. Cesare Formichi .) One of the best known Italian Verdi baritones of the 1920s and '30s. Jean Périer and Hector Dufranne . As a young singer he appeared in Verdi and created the Commandant in Richard Strauss's Friedenstag and Olivier in Capriccio . Friedrich Schorr . Renato Zanelli (who switched to tenor roles in 1924). Hermann Weil. Giovanni Inghilleri. Anton van Rooy . Weil and Whitehill were at their peak in the late 19th and early 20th centuries while Schorr. Rudolf Bockelmann and Hans Hermann Nissen. Mario Basiola. Carlo Galeffi . Apollo Granforte . Herbert Janssen . Among them were Joseph Schwarz (a vocal virtuoso). who was a true baryton-Martin. By the 1950s. Bockelmann and Nissen were stars of the 1920s and 1930s. there was a plethora of baritones with more lyrical voices active in Germany and Austria during the period between the outbreak of WW1 in 1914 and the end of WW2 in 1945. Luigi Montesanto. Carlo Morelli (the Chilean-born younger brother of Renato Zanelli) and Carlo Tagliabue . possessed contrasting voices. Benvenuto Franci. Other major Wagnerian baritones have included Hotter's predecessors Leopold Demuth. Karl Schmidt-Walter and Gerhard Hüsch . In addition to their heavyweight Wagnerian cousins. Enrico Molinari. Clarence Whitehill . sang Iago and Rigoletto and Falstaff (at La Scala .'s post-Wagnerian masterpiece Pelléas et Mélisande featured not one but two lead baritones at its 1902 premiere. more powerful instrument than did Périer. Their abundant inter-war Italian counterparts included. These two baritones. Demuth. Hotter made his debut in 1929. Also to be found singing Verdi roles at the Met. Stabile also appeared in London. John Charles Thomas . Covent Garden and the Vienna Opera during the late 1930s and the . '50s and early '60s. Stabile was followed by Tito Gobbi . Richard Bonelli . Giuseppe Taddei . An outstanding group of virile-voiced American baritones appeared in the 1920s. a versatile singing-actor capable of vivid comic and tragic performances during the years of his prime in the 1940s. Giuseppe Valdengo . Chicago and Salzburg. He was noted more for his histrionic skills than for his voice. who famously sang Falstaff at Glyndebourne and created the roles of Mr. Gobbi's competitors included Gino Bechi . Paolo Silveri . rich-voiced singing-actor). however. as did the American-born but Paris-based baritone of the 1920s and '30s. too. He learned more than 100 roles in his lifetime and was mostly known for his roles in Verdi and Puccini operas. Flint and Mountjoy in works by Benjamin Britten . Another of Gobbi's contemporaries was the Welshman Geraint Evans . Leonard Warren and Robert Merrill . Outstanding among its members were the Met -based Verdians Lawrence Tibbett (a compelling. Ettore Bastianini and Giangiacomo Guelfi . in the operas of Mozart and Wagner. Robert Weede .) under the baton of Arturo Toscanini . Some considered his best role to have been Wozzeck. They sang French opera. The younger members of this group were still active as recently as the late 1970s. including appearances as Scarpia opposite soprano Maria Callas as Tosca at Covent Garden . more generally. He made his premiere at Glyndebourne in 1990 and went on to build an international career as Falstaff and. Arthur Endreze. The next significant Welsh baritone was Bryn Terfel . more recently. they sing Verdi and the works of their native composers. during a career lasting from 1935 to 1966. Germany's Hermann Uhde and.1940s was the big-voiced Hungarian baritone. was an interpreter of Poulenc's songs in the previous generation. He had. Pierre Bernac . At the same time. to modern English music. The leading Verdi baritones of the 1970s and '80s were probably Italy's Renato Bruson and Piero Cappuccilli . Chernov followed in the footsteps of such richly endowed East European baritones as Ippolit Pryanishnikov (a favorite of Tchaikovski's). Older baritones identified with this style include France's Dinh Gilly and Charles Panzéra . a distinguished if lighter-voiced Wagnerian rival during the 1960s and 1970s in the person of Thomas Stewart of America. Joachim Tartakov (an Everardi pupil). established himself internationally as a memorable Wotan and Hans Sachs. Like Lisitsian. the Bolshoi 's Pavel Lisitsian . Sweden's Ingvar Wixell and the Romanian baritone Nicolae Herlea . and. who emerged from the former USSR to sing at the Met. Souzay's teacher. which ranged from Mozart to Verdi. Britain's Sir Thomas Allen was considered to be the most versatile baritone of his generation in regards to repertoire. In the realm of French song. Souzay's repertoire extended from the Baroque works of Jean-Baptiste Lully to 20th century composers such as Francis Poulenc . America's James Morris. Norman Bailey. Georges Baklanoff (a powerful singing-actor). Another British baritone. Waclaw Brzezinski (known as the "Polish Battistini"). however. Oskar Kamionsky (an exceptional bel canto singer nicknamed the "Russian Battistini"). America's Sherrill Milnes . Among the late 20th century baritones noted throughout the opera world for their Verdi performances was Vladimir Chernov . Sandor (Alexander) Sved. through French and Russian opera. including Tchaikovsky's Eugene Onegin and The Queen of Spades . Other notable post-War Wagnerian baritones have been Canada's George London. the bass-baritone José van Dam and the lighter-voiced Gérard Souzay have been notable. Dmitri Hvorostovsky and Sergei Leiferkus are two Russian baritones of the modern era who appear regularly in the West. almost tenor-like quality. Prior to World War II. as a lieder singer. and has a lighter.) Yet another Australian baritone of distinction between the wars was Harold Williams . He earned his principal renown. Mozart. Bariton/Baryton-Martin • Common Range: From the low C to the A above middle C (C3 to A4) • Description: The Baryton-Martin lacks the lower G2-B2 range a heavier baritone is capable of. this fach . Matthias Goerne . and the Mozartian Roy Henderson. After the war's conclusion. the Canadian Gerald Finley and James Westman and the versatile American Thomas Hampson. In addition to his interpretations of lieder and the works of Mozart. Talented German and Austrian lieder singers of a younger generation include Olaf Bär . Prey sang in Strauss operas and tackled lighter Wagner roles such as Wolfram. Important British-born baritones of the 1930s and 1940s were Dennis Noble . Both appeared often at Covent Garden. Germany's Heinrich Schlusnus. however. Well-known non-Germanic baritones of recent times have included the Italians Giorgio Zancanaro and Leo Nucci . Peter Dawson. Another Australian. acquired his outstanding Handelian technique from Sir Charles Santley. Hermann Prey and Dietrich Fischer-Dieskau appeared on the scene to take their place. who sang Italian and English operatic roles. made a small but precious legacy of benchmark Handel recordings during the 1920s and 1930s. Fischer-Dieskau sang parts in 'fringe' operas by the likes of Ferruccio Busoni and Paul Hindemith as well as appearing in standard works by Verdi and Wagner. and Wagner respectively. Gerhard Hüsch and Herbert Janssen were celebrated for their beautifully sung lieder recitals as well as for their mellifluous operatic performances in Verdi. who was based in the United Kingdom. incidentally.and Australia's John Brownlee . Stephan Genz and Christian Gerhaher . Thomas Quasthoff . the Frenchman François le Roux . (Dawson. his compatriot Nathan Gunn and the Britisher Simon Keenlyside . Generally seen only in French repertoire. Wolfgang Holzmair (who also performs regularly in opera). . 1886) to separate his voice from the 'Verdi Baritone'. which carried the chest register further into the upper range. and the designation 'Baryton Martin' has been used (Faure. L'enfant et les sortilèges (Maurice Ravel) o o Orfeo. It is important to note that this voice type shares the primo passaggio and secondo passaggio with the Dramatic Tenor and Heldentenor (C4 and F4 respectively). L'Orfeo (Claudio Monteverdi) Ramiro. Martin was well known for his fondness for falsetto singing.was named after the French singer Jean-Blaise Martin . Carmen (Georges Bizet) • Singers: o o o o o o Jean Périer Pierre Bernac Wolfgang Holzmair Jacques Jansen Camille Maurane Richard Stilwell Lyric baritone • Common Range: From the A below low C to the A or A above middle C (A2 to A/A4). L'heure espagnole (Maurice Ravel) o Morales. Pelléas et Mélisande (Claude Debussy) o L'Horloge Comtoise. • Roles: o Pelléas. Associated with the rise of the baritone in the 19th century. and hence could be trained as a tenor. It is typically assigned to comic roles. La bohème (Giacomo Puccini) o Figaro. The Barber of Seville (Rossini) • Singers: o o o o o o o Sir Thomas Allen Dietrich Fischer-Dieskau Frank Guarrera Robert Merrill Thomas Hampson Wolfgang Holzmair Simon Keenlyside The kavalierbariton • Common Range: From the A below low C to the G above middle C (A2 to G4). Don Giovanni (Wolfgang Amadeus Mozart) o Papageno. lacking in harshness. The Magic Flute (Wolfgang Amadeus Mozart) o Marcello. lighter and perhaps mellower than the dramatic baritone with a higher tessitura . The Marriage of Figaro (Wolfgang Amadeus Mozart) o Guglielmo. Così fan tutte (Wolfgang Amadeus Mozart) o Don Giovanni. • Roles: o Count Almaviva. . milder sounding baritone voice.• Description: A sweeter. sometimes extending up to the C above middle C. Not quite as powerful as the Verdi baritone who is expected to have a powerful appearance on stage. Il trovatore Don Carlo di Vargas. La traviata ." The Verdi baritone will generally have a lot of squillo. Ernani Conte di Luna. or "High C. that can sing both lyric and dramatic phrases. with good looks. perhaps muscular or physically large. a manly noble baritonal color. Capriccio (Richard Strauss) o Giorgio Germont in La traviata (Giuseppe Verdi) • Singers: o Eberhard Wächter Verdi baritone • • Common Range: From the G below low C to the A above middle C (G2 to A4). or "ping" • Roles: o o o o o o o Amonasro.• Description: A metallic voice. • Roles: o Don Giovanni. Don Giovanni (Wolfgang Amadeus Mozart) o Justin Labelle. Description: A more specialized voice category and a subset of the Dramatic Baritone. Wakonda's Dream (Anthony Davis) o Count. La forza del destino Falstaff. Falstaff Ford Falstaff Germont. Aida Carlo. a Verdi baritone refers to a voice capable of singing consistently and with ease in the highest part of the baritone range. that for all intents and purposes. Description: A voice that is richer and fuller. it is important to note. Don Carlos Simon Boccanegra. roles that fall into this category tend to have a slightly lower tessitura than typical Verdi baritone roles. only rising above an F at the moments of greatest intensity. The primo passaggio and secondo passaggio of both the Verdi and Dramatic Baritone are at Bb and Eb respectively. Macbeth Renato. Accordingly. This category corresponds roughly to the Heldenbariton in the German fach system except that some Verdi baritone roles are not included. Many of the Puccini roles fall into this category. hence the differentiation is based more heavily on timbre and tessitura. However. Rigoletto Rodrigo. Un ballo in maschera Rigoletto. Because the Verdi Baritone is sometimes seen as subset of the Dramatic . Simon Boccanegra • Singers: o o o o o o o o o o o o Ettore Bastianini Renato Bruson Titta Ruffo Leonard Warren Carlos Alvarez Tito Gobbi Dmitri Hvorostovsky Nicolae Herlea Piero Cappuccilli Ingvar Wixell Seymour Schwartzman Giorgio Zancanaro Dramatic baritone • • Common Range: From the G half an octave below low C to the G above middle C (G2 to G4). a Verdi Baritone is simply a Dramatic Baritone with greater ease in the upper tessitura (Verdi Baritone roles center approximately a minor third higher).o o o o o Macbeth. than a lyric baritone and with a darker quality. and sometimes harsher. Carmen (Bizet) Norman Bailey Peter Kajlinger Sergei Leiferkus Juan Pons Tom Krause o o o o o Lyric Low Baritone/Lyric Bass-baritone • Common Range: From about the F below low C to the F above middle C (F2 to F#4) Some bass-baritones are baritones. George London. La fanciulla del West (Giacomo Puccini) o Scarpia. James Morris and Bryn Terfel. Otello (Giuseppe Verdi) o • Singers: Escamillo. Tosca (Giacomo Puccini) o Nabucco. • Roles: o Don Pizarro Fidelio by Ludwig van Beethoven o Golaud Pelléas et Mélisande by Claude Debussy . some singers perform roles from both sets of repertoire. like Friedrich Schorr. The following are more often done by lower baritones as opposed to high basses. Nabucco (Giuseppe Verdi) o Iago. Similarly.Baritone. • Role o Jack Rance. the lower tessitura of these roles allow them frequently to be sung by bass-baritones. Così fan tutte by Wolfgang Amadeus Mozart o Figaro. The Marriage of Figaro by Wolfgang Amadeus Mozart • Singer: o o Thomas Quasthoff Bryn Terfel Dramatic Bass-baritone/Low Baritone • Common Range: From about the F below low C to the F above middle C (F2 to F#4) • Aleko. Faust by Charles Gounod o Don Alfonso. Prince Igor by Alexander Borodin • Dutchman The Flying Dutchman by Richard Wagner • Hans Sachs Die Meistersinger von Nürnberg by Richard Wagner • Wotan Der Ring des Nibelungen by Richard Wagner • Amfortas Parsifal by Richard Wagner • Examples: o George London o Hans Hotter . Aleko by Sergei Rachmaninoff • Igor.o Méphistophélès. Cavalleria rusticana Dr. P. Lucia di Lammermoor Ernesto. Malatesta. Facing Goya Gérard. Andrea Chénier • • • Guglielmo Tell. Baritone roles in opera • • • • • • • • • • Alfio. This category originated in the Paris Opera . but it greatly influenced Verdi (Don Carlo in Ernani and La forza del destino . La fanciulla del West . Carmen Ford.. The Merry Wives of Windsor Francisco Goya. The Man Who Mistook His Wife for a Hat Eddie Carbone. Il pirata Escamillo.o Friedrich Schorr Baryton-noble • Description: French for noble baritone and describes a part that requires a noble bearing. The Ballad of Baby Doe Jack Rance. all in perfect balance. Count Luna in Il trovatore . Amfortas). William Tell Horace Tabor. A View from the Bridge Enrico Ashton. Don Pasquale Dr. Simon Boccanegra ) and Wagner as well (Wotan. smooth vocalisation and forceful declamation. The Sorcerer John Wellington-Wells. The Grand Duke Sir Despard Murgatroyd. Iolanthe The Lord Chancellor. Daly. H. Ruddigore Sir Joseph Porter. HMS Pinafore Sir Ruthven Murgatroyd (as Robin Oakapple). Iolanthe Ludwig.M. Wozzeck Baritone roles in Gilbert and Sullivan • • • • • • • • Archibald Grosvenor. Tannhäuser Wozzeck. Ruddigore Strephon.S. The Mikado Lord Mountararat. The Pirates of Penzance • • • • • • • • Reginald Bunthorne. The Grand Duke Major-General Stanley. Pinafore Dr. Patience Captain Corcoran. Madama Butterfly Simon. Tosca Sharpless. Simon Boccanegra Valentin. The Pirates of Penzance Baritone voices in other music In barbershop music .• • • • • • • Lescaut. Patience Rudolph. The Sorcerer Ko-Ko. Faust Wolfram von Eschenbach. Iolanthe Samuel. Manon Lescaut Scarpia. Tom Jones Michael McDonald . Harold. Liner Notes. and they were the bass sounds of the vocal mix. the baritone will occasionally find himself harmonizing above the melody. Because the baritone fills the chord. Vox Mentor. Marston Records. A barbershop baritone has a specific and specialized role in the formation of the four-part harmony that characterizes the style. published in English translation as The Voice and Singing (Francis Keeping and Roberta Prada. they can sing many characters. which calls for a tenor-like quality. Matheopoulos. in which case it is called "high baritone". (Discusses Renaud and many of his baritone contemporaries as well the stylistic change in operatic singing at the turn of the 20th century. translators). The baritone is the mid range voice of the male vocal types and has an interesting history. the more "soul " baritones have the more traditional timbre. On the other hand. The baritone singer is often the one required to support or "fill" the bass sound (typically by singing the fifth above the bass root) and to complete a chord. (1989) Bravo – The World's Great Male Singers Discuss Their Roles.) Retrieved 4 March 2008. or even above the lead (and the tenor). Conversely. the baritone range was the average male voice. these lower male voices were still more frequently classed as a type of bass until the nineteenth century. Heugel. and Levi Stubbs of the Four Tops . there is consequently such a singer (at least in barbershop singing) as a female baritone. the part is often not very melodic. History of the Term ‘Baritone’ In the early days of choral and operatic music. Bruder. the melody line is called the lead. Into the seventeenth century. and may be sung below the lead. Baritone is the fifth of the scale that has the lead as a tonic. Some of these singers include Bing Crosby . 2005. the baritone part sings in a similar range to the Lead (singing the melody) however usually singing lower than the lead. Tenor is sung an interval of a third above the lead. In bluegrass music . and has a distinctly mellow quality. did not come into vogue until the eighteenth century. H. Because barbershop singers can also be female. Maurice Renaud: The Complete Gramophone Recordings 1901–1908. The use of the term ‘baritone’ as it is understood today.. but sing in a vocal range that is closer to the tenor vocal range. 1997. Having great flexibility. Further sources • • • Faure. Even then. Jean-Baptiste (1886) La voix et le chant: traité pratique. Victor Gollancz Ltd. The baritone sits between the tenor and the bass in range. the term makes . Others include Mozart’s Count Almaviva. The Magic Flute and Puccini’s Marcello. This was much liked by Verdi. and the title roles of Falstaff. L’heurre Espagnole. Conte di Luna. Richard Strauss and Germont. offering great flexibility. is named for Jean-Blaise Martin (1768-1837) who was renowned for his ability to sing a fine falsetto and for the tenorlike quality of his sound. Verdi Baritone The Verdi baritone is a subset of the dramatic baritone. consistent singing with ease in the highest part of the range. being able to easily produce a quite menacing colour. with a characteristic ringing quality. Carlo. Lyric Baritone The lyric baritone is characterised by a sweet. Guglielmo. Bizet. richer and fuller than the lyric type. These are often the villains in the operatic repertoire. Macbeth and Rigoletto to exploit the carrying qualities of this baritone type. It is darker. often used in comic roles. the highest and most brilliant sound in the baritone range. Aida. ypes of Baritones and the Roles They Play The baritone is a classification that covers a broad range of voices. villains. La Boheme. Lucia di Lammermoor. mid-range voice in a wide selection of major operatic roles began the understanding the baritone as a distinct type. Verdi. lending itself to imposing characters. The Marriage of Figaro. Mozart’s prolific use of this mellow. Roles include the Count. Bariton-Martin This. Capriccio. who wrote Amonasra. These singers are capable of sustained. Opera composers have exploited this range to the full and baritones play heroes. Carmen. Roles include Ramino. Kavalierbariton This type has a notably metallic and penetrating quality and noble colour. Dramatic Baritone The dramatic baritone is the sound that most people expect from a baritone. The most well known example is the title role in Rossini’s Barber of Seville.its first appearance. mild quality. Traviata. with an occasional harsher quality. Cosi fan tutti and Papageno. Ernani. Such . Common to them all is a certain degree of fluidity and mellowness in the quality of the sound that separates them from the brilliance of the tenor register and the darkness of the bass. These singers are able to sing both lyric and dramatic phrases. Ravel and Morales. but then specifically to describe the average lower pitched voice in a choral setting. In the eighteenth century. The rise of bel canto operas in the eighteenth century marked the beginning of it being seen as a distinctly separate classification from the bass voice type. character and supporting roles. when composers. Bizet and the title role of Otello. France. the most common category of male voice. A singer of oratorio. Others include Beethoven’s Fidelio and the Dutchman from Wagner’s The Flying Dutchman. which had heretofore been associated with the higher voices. Carmen. German composers seem to have been the first to focus on the use of the baritone as a solo voice. they lack the darker quality of a true bass. In practice. an Italian baritone. Normally. which evolved into the popular four-part writing (soprano. the classification of voices is determined not only by range but also by the quality. particularly in solo compositions or as a reflection of an accepted cultural tradition (e. As a voice type. Puccini. . that of England. The characters they play are interesting and often complex. the baritone parts are written for a range of A to f ′. chiefly at the French court. in vocal music. Verdi. there is a role that will appeal to everyone Mozart’s Singers Stefano Mandini.. The Marriage of Figaro.g. Germany. whereas the harsher demands on a tenor in operatic roles might influence the singer to develop his baritone range instead. Tosca. The acceptance of the baritone for principal parts considerably widened the range of male character types and shifted more emphasis to the lower voices in hero and lover roles. for example. The role that best exemplifies this type is Mozart’s Figaro. and the prominent use of baritone characters in Wolfgang Amadeus Mozart’s operas was regarded as a distinct innovation by his European contemporaries. Later choral singing. or Russia). bass). tenor. but not the bottom notes that would encompass the bass range. warm and accessible voice for those learning about opera. like the mezzo soprano. “deep-sounding”). of the voice and the purpose for which it is to be trained and used. was an extremely versatile singer. but this may be extended in either direction. From 'bad boys' to kings to barbers. or colour. baritone. between the bass and the tenor and with some characteristics of both. Escamillo. usually omitted the baritone.roles include Scarpia. explored the polyphonic sonorities made possible by the addition of lower-pitched voices. While many bass baritones can encompass some bass roles. alto. a lower tessitura of a true baritone. this is a mid range. Bass Baritone or Heldenbariton This is a voice of great power and strength with the mellow quality of the baritone. as is the voice itself. He played the part of Count Almaviva not only in first production of The Marriage of Figaro (a baritone role) but also in the 1783 Vienna production of Paisiello's Il Barbiere di Siviglia (where the part is written for a tenor). (from Greek barytonos. might be comfortable as a tenor. Italy. The term baritonans was first used in Western music toward the end of the 15th century. Sex." says opera's Lotfi Mansouri. baritone. Sr. therefore. Clinton's higher-pitched voice. People The following are some people associated with "baritone" • • • • • • • • • • • • • Antonio Tamburini (Italian singer) Bryn Terfel (Welsh singer) Dietrich Fischer-Dieskau (German opera singer) Frederic Austin (British singer and composer) Harry Thacker Burleigh (American musician) Lawrence Tibbett (American opera singer) Leonard Warren (American singer) Michael William Balfe (Irish musician) Paul Robeson (American singer. Body type and general physical constitution represent the second determinant of the individual voice type because the laryngeal. and soprano in the female. mezzo-soprano.Aspects of the topic baritone are discussed in the following places at Britannica. is one of the first determinants of voice type in the two categories. Feb 28. actor.. and political activist) Robert McFerrin. By Frank Browning What is it about Barack Obama's baritone? . and tenor in the male. (American opera singer) Sir George Henschel (British musician) Sir Geraint Evans (Welsh singer) Victor Maurel (French opera singer) Other Thursday. not so much. Obama's baritone seems to have that magic. in contrast to contralto. 2008 05:51 ET Does Obama's baritone give him an edge? A powerful voice is a "god-given sound.. Assorted References • type of voice (in speech (language): Voice types) Musical practice for centuries has recognized six basic voice types: bass. you got the whole atmosphere inside and around the words and you were enveloped by it. its resonance -.. the integral character of the person before us. the materiality of the body speaking its mother tongue. And once the matter of voice was raised for Obama. The mediocrity of his lightweight baritone disappeared and we became travelers on the pulsars generated by the anatomy of his voice box in a separate universe of his making. People. you can learn to control it and develop it. And yet.'" Lotfi said to illustrate. including all the gendered codes buried beneath the word "shrill." He cites the power of a Russian church cantor's chant: "something . "He didn't just sing the words. phrasing. To the contrary. The late French semiotician Roland Barthes touched on this vocal magic in a famous essay called "The Grain of the Voice. It is not about goodness or morality or truth-telling and is little affected by coaching or practice." Adds Rick Harrell. it was by most musical assessments decidedly mediocre. it reveals.Aside from the symbolism of finding a new hero who might displace the shame and fear that has poisoned American public life since Martin Luther King's murder in 1968. "Take 'One for My Baby. if we let ourselves hear it. its timbre. as though a single skin lined the inner flesh of the performer and the music he sings. Yet all of that would have been as nothing had the story he was telling in his songs not also been the elemental. revealing the innate grain that vibrates with a receptive grain of our own. the sound of the voice or the sound of a baby's cry or the sound of someone saying. Mansouri and Harrell also wanted to talk about another iconic American voice -. the single note prolonged beyond endurance. Well I would say the voice is the window into the heart. there is something in the very essence of Obama's voice -.S.its tone. brought to your ears in one and the same movement from deep down in the cavities." . "The old saying is the eye is the window of the soul. the cartilages .that of Frank Sinatra. Eager to probe deeper into the chords of the candidates. Through technique and vocal study and all that. However. the muscles. for my generation. I called two of the world's specialists on what moves us as listeners to others' voices.. Says Lotfi. history: Hillary Clinton. but you cannot manufacture timbre artificially. Lotfi Mansouri and Rick Harrell. who have coached singers at the San Francisco Opera and the San Francisco Conservatory opera program." Like the variable grain of an oak or a walnut. or even perhaps for some others Benito Mussolini -. it was as though he filled all the inner and outer dimensions of our experience.." When it happens that something within us shivers or tingles at the words of a great and moving voice -. Not since King's "I Have a Dream" speech in 1963 has a black American moved so many other Americans. can be slick and manipulative and pretend to be genuine or heartfelt." Barthes goes on: "The 'grain' is .it is because there is something that leaps forth from the very anatomy of the speaker. Sinatra employed all the technique he could muster: tone.Martin Luther King Jr.' It comes across at a very gut level more so than at an intellectual level. 'Please! I can do what's best for our country. is directly in the cantor's body. whether they be actors or politicians. By no account did Sinatra possess a great singing voice. a not always flattering parallel immediately arose concerning the voice of the first real female candidate in U. white or black. the membranes. "The fact is that the basic timbre is a god-given sound. whom he studied. Can we say that Barack Obama achieves something similar when he speaks his chant for change? That is apparently what is happening for tens of millions of Americans. not to mention the cheering galleries across Europe and around the world who want it to be so..that has struck deep chords among Americans and foreigners in this year's campaign season.. But set against that resonant Obama grain there is what appears to be a counter-grain of what is all too often labeled Hillary the Shrill. when Sinatra sang." Like the great Ella Fitzgerald.. inflection. Winston Churchill and Franklin Roosevelt for my parents. physical story of his own life. "Now. A whole lot. That is too often Hillary's problem when she gets excited. the San Francisco Opera coach. who directs the Balagula Theatre in Lexington. We are conditioned." Sound like that and you're dead in the water. "when she gets excited and it comes across as angry and that upsets voters more than if she were an angry man. there are a lot. deeper-voiced males followed by a higher-pitched female.. Lynn Meyer. . "It's a preconception." she answered." Harrell's Opera colleague Lotfi Mansouri broke in.Natasha Williams. a woman raised in Virginia who often speaks in grave stentorian stanzas. Frankie-boy.even though she finds the Republican heir-apparent John McCain squeaky and the now withdrawn John Edwards tweaky." "More than just a lot. "Everybody knows he's a great speaker. "There are two voices that don't seem very threatening [to men]. she says. It's a voice that sounds like a bit of mother. One is the little girl voice -. The other is Lauren Bacall's [she lowers her own deep and gravelly] very sexy voice. says simply that it is jarring to hear a lineup of self-important.either Valley girl or Jackie Kennedy's little tiny whisper. Lynn says." I said. But when mother loses it. Sixty-some thousand. A cultural preconception. "How many do you see?" "Yeah. who's done everything from political consulting to selling Florida real estate to writing a detective novel. people use that awful. "OK." I put that proposition to Rick Harrell. Natasha says. Hillary's problem arises. "Every time she changes her register. still clueless. has a different take on how men hear women's voices." That's one interpretation. and finally nagging wife." One of those apparent cultural preconceptions afoot in the current political fray is a rather odd preoccupation with the baritone quality of Barack Obama's voice. I did so as I was listening on the transatlantic phone line. It's connected to the fact that when the mother is upset in a house. But what's that prove?" I persisted. type in 'Obama's baritone.' What do you see?" "Whoa!" I answered." she said. an insight pointed out by my radio colleague Brenda Wilson. to look for authority in the male voice -. women have to be very careful they don't sound like what I call 'the voice of civilization. "Type in the phrase 'Obama's voice' on Google and see what you get." "Yes." she murmured. then it's really scary because the whole sense of security goes tumbling down. It's not like that with the father because the mother stands in between the kids and the father. then schoolteacher. "There are a lot of listings.' That's the voice who told you to eat your spinach. who agreed that shrill is death to any public performer: "We wouldn't want our hectoring mother speaking to us from the White House for the next four years." she advised one day. asked you where's your homework. Anything between these two. Ky. sexist word 'shrill' and that's really code for the voice of the scold. take your elbows off the table. "Two hundred and sixty-nine thousand results!" "Um-hm. kids feel insecure. a longtime friend from Ukraine. the schoolmarm slipping into her instructions. It could be that these men have greater access to mates. what's so good about baritones?" I took the question back to Rick Harrell. the women chose the baritone "Ujambos" over the higher-pitched ones.' or 'Trust me. we know. hear my authority. would suggest. "When you hear commercials." Frank Browning reports on sex. science and farming for National Public Radio. When it comes to the public arena..' as often as not it is a baritone voice. can find something phallic in just about anything that speaks. "A Queer Geography" and "Apples. He is the author of. fertility and reproduction. when they're saying. whether on the radio or voice-overs on television.as Obama's string of primary victories. who proposed that the true baritone is an evocation of the ancient shofar. Hands down. To get at the question she invited a clutch of Hazda men into her Land Rover and asked each one to say. Retreaded into 20th century neo-Freudianism the shofar/baritone becomes the vocal embodiment of phallic authority." Probing further into the hidden presumptions and preconceptions of the baritone. If they want to get you excited and stimulated. where candidates are concerned. Last summer Harvard anthropologist Coren Apicella took herself and some tape recorders to visit the Hazda people of Tanzania. however.. who live pretty much as their ancestors did several millennia ago. [that they] know what's good for the country. "Why there's this relationship we're not entirely sure yet. really." or "Hello. when Apicella reversed the gender recording. breathes or moves." she said. baritone is still the winning vocal register -. It's not a great leap to hear the multiple meanings of the horn. Hear my horn. then they'll go for a higher-pitched sound. buy this. to get people to buy stuff or take certain medicines or. "That's all. Apicella wanted to know what voice had to do with seduction. And so maybe these men that have deeper voices have higher levels of testosterone. "Ujambo. 'Trust me. to "trust . go here. It all comes back to how the baritone "is the voice one tends to associate with authority. Freudians. Then she played her recordings for a group of Hazda women and asked them to rate the voices." Apicella told NPR reporter Sean Bowditch. even among blue-collar white men.I waited. go there. the Hazda men seemed to prefer women with higher voices." in Swahili." as opera coach Rick Harrell says. maybe they're better hunters and they're able to bring more food home to their wives. "Isn't it curious that the hot candidate gets to be described as a baritone? I mean. As it happens. the ram's horn that came from Abraham's sacrificial sheep but was also the instrument Moses used to call the wandering tribes together at Sinai to hear the thundering words of God. among other books. But such interpretations of the power of the baritone long antedate Freud or even the children of Abraham. I came back to an old reference from Freud's student Theodor Reik." More: . are usually described nowadays as written for (and sung by) a ‘mezzo’. The counter-tenor is essentially. bass. In opera. For example: Pamina in Die Zauberflöte or Gilda in Rigoletto. Until the mid-20th century. for example. Some sopranos can inject a deeper resonance into their voices and undertake roles commonly associated with the mezzo range. such as Wagner’s Brünnhilde. or the earth goddess Erda in Wagner’s Ring. Nevertheless. the voice of a ‘normal’ male singer using the falsetto register. Dalila (in Samson et Dalila) and Oktavian in Der Rosenkavalier. Puccini’s Turandot or Strauss’s Elektra The principal soprano is normally the prima donna . For example: the Queen of Night in Die Zauberflöte or Zerbinetta in Strauss’s Ariadne auf Naxos. MEZZO-SOPRANO (or ‘mezzo’): the female voice lying between the higher reaches of the soprano and the deeper chest resonances of the contralto.the first lady. Today’s leading sopranos include Angela Gheorghiu. Reneé Fleming and Anna Netrebko. Male voice types: counter-tenor. a duet between a soprano and mezzo. Types of soprano. Maria Callas and Joan Sutherland. castrato Female voice types SOPRANO: the highest female voice. Female voice types: soprano. Roles written by Handel for the castrato voice are often nowadays sung by ‘mezzos’. or a villainous bass. Lirico spinto: a ‘lyric’ capable of riding great orchestral climaxes at moments of high drama. baritone. mid-range voice. perhaps. Some mezzos are capable of singing well into the soprano register. More recently. girlish voice capable of great agility. CONTRALTO: the lowest female voice. women’s voices were usually described as either soprano or contralto. The term has become replaced with ‘mezzo soprano’. Many opera composers use a mix of voice types to create specific effects. The counter-tenor voice gained increasing currency with the Early Music revival during the second half of the 20th century. Dramatic: a powerful instrument with the vocal muscle required for such demanding expressive roles. from the lightest to the most powerful. Even such deep. assertive Verdian roles as Azucena in Il Trovatore or Ulrica in Un ballo in maschera. Male voice types COUNTER TENOR: the nearest male voice to the extremely high sound of the castrato. For example: Leonora in Verdi’s Il Trovatore or the title part in Aida. the term contralto has almost entirely been replaced by ‘mezzo soprano’. mezzo-soprano. see above.or a quartet of all four. contralto.Operatic Voice Types Human voices vary from one another far more than musical instruments do. they have come to be categorised under a number of broad headings based largely on how high or low they are in pitch. ideal for long. Principal roles composed for mezzo soprano include Carmen. Lyric: a warm. include: Coloratura: a high. Singers such as Alfred Deller. Andreas Scholl and David . certain voice types are often associated with specific roles: a heroic tenor. or a tenor and a baritone. tenor. Some have become very famous. elegant phrases. James Bowman. The contralto is characterised by not only the ability to sing low notes but also to invest the entire range with deep chest resonance. such as: Nelly Melba. more powerful tenor sound that Domingo could call upon for works such as Wagner’s Lohengrin or Verdi’s Otello. A similar kind of voice is required for the title role of Verdi’s Falstaff. Verdi also wrote baritone music of a more muscular.Daniels have hugely increased the ability of modern audiences to appreciate the kind of vocal skills for which Purcell. Heldentenor (heroic tenor) in which a high musical line requires an almost baritonal underlay if the singer is to assay some of the supremely testing Wagner roles such as Tristan or Siegfried. The bass voice has often been assigned to: Ageing figures of (sometimes flawed) authority: monarchs. Verdi was often giving baritones lyrical music of a caressing. Dramatic: the darker-hued. in Verdi’s Don Carlo. BASS: the lowest male voice. Don Carlo and Un ballo in maschera). Verdi and Puccini are assigned to the tenor. eg: Osmin in Die Entführung aus dem Serail. The practice of castrating boys to conserve their beautiful singing voices had largely fallen out of favour by the end of the 18th century and was finally made illegal by the latter half of the 19th. Comic characters. the result of castration before puberty. Alfredo Kraus or (today) Juan Diego Flórez. Donizetti and Bellini. eg: Caspar in Der Freischütz. composers tended to write relatively lightweight roles for the tenor voice (eg: Don Ottavio in Don Giovanni) in which the higher notes were sung with the head voice. ideal in works by Rossini. CASTRATO (historic): a male singer with a female singing voice. Today. But from about the 1820s. political outbursts and the like). Ochs in Der Rosenkavalier. Domingo). TENOR: the highest natural male voice. BARITONE: the standard middle-register male voice. Wagner wrote roles such as the Dutchman. Varlaam in Boris. Villains. Pavarotti. Lyric (and lirico spinto): the standard romantic operatic tenor voice (Caruso. Sparafucile in Rigoletto. By the mid-19th century. Klingsor in Parsifal. almost plaintive quality (eg: in arias in Il Trovatore. some operatic tenors began to employ their more resonant ‘chest voice’ all the way up the scale (even to a ‘Top C’). Most of the powerful romantic leads in the works of Wagner. Mephistopheles in Faust. such as Tito Schipa. priests etc: Sarastro (the high priest in Mozart’s Die Zauberflöte). assertive nature (vengeance arias. Handel and Gluck wrote. . Mussorgsky’s Boris Godunov and. Only in the late 18th century did composers begin to differentiate between the bass voice (to which all lower-lying roles were assigned) and the ‘baritone’. Until the early 19th century. so that composers began to give them more muscular. Hans Sachs and Wotan for the ‘bass-baritone’ – a bass with a good top register. both King Philip and the Grand Inquisitor. La Traviata. Operatic tenors are often categorised as: Light: the ‘tenore di grazia’ (graceful tenor). Castrati roles are often taken by countertenors. assertive parts. it must be capable of singing comfortably in a baritonal tessitura.Bass-baritone Information about Bass-baritone Double click any English word. Voice Type (ranges) Female voices Soprano Mezzo-soprano Alto or Contralto Male voices Sopranist Countertenor (Alto or Mezzo) Tenor Baritone The bass-baritone voice is distinguished by two Bass-baritone attributes. and they are not listed in this list.[ view history] the role of Wotan in Die Walk�re covers the range from the F# above middle C to the F below the bass clef but only infrequently descends beyond the C below middle C. however. The term arose in the late 19th century to describe the particular type of voice required to sing three Wagnerian roles: Dutchman (in Der fliegende Holl�nder). Wagner wrote those roles for what he called Hoher Bass ("high bass. It must Bass also. Bass-baritone roles Operas • • • • • • • • Boris Boris Godunov by Modest Mussorgsky Don Basilio Il barbiere di Siviglia by Gioachino Rossini Don Pizarro Fidelio by Ludwig van Common vocal ranges Beethoven represented Escamillo Carmen by Georges Bizet on a musical keyboard Francis Saint-Fran�ois d'Assise by Olivier Messiaen Golaud Pell�as et M�lisande by Claude Debussy Soprano Vodnik Rusalka by Anton�n Dvoř�k Zaccaria Nabucco by Giuseppe Verdi Alto Operettas and musicals All of the Gilbert and Sullivan comic operas have at least one bass-baritone character. For example. Wotan (in the Ring Cycle) and Hans Sachs (in Die Meistersinger von N�rnberg). to find Turkish meaning A bass-baritone is a singing voice that shares certain qualities of both the baritone and the bass. Bass-baritones famous Tenor Bass . First. [ edit this] ." this is explained in more detail at fach). have the resonant lower range typically associated with the bass. • • • • • • • • • • • • Albin (La Cage Aux Folles) (Must be very well developed up to E4 since he is a lounge singer) Allan Swan (My Favorite Year) (Range goes from low G to Eb above middle C. Singing) Benjamin Franklin (1776) Javert (Les Miserables) (Should be able to go up to an F sharp) Shannon Wilson Bell (Cannibal! The Musical) Sweeney Todd (Sweeney Todd) .) Scar (The Lion King) Bill Sykes (Oliver!) Chandler Marlowe (The Butler Did It.a rangy role from Eb2 to the F sharp above middle C.for singing these roles included Richard Temple. Darrell Fancourt and Donald Adams. Jud Fry (Oklahoma!) Julian Marsh (42nd Street) Judas/John (Godspell) Famous bass-baritones Classical music • • • • • • • • • • • • • • • • • • • • Theo Adam Walter Berry Justino Diaz Stefan Dimitrov Simon Estes Sir Geraint Evans Andrew Foster-Williams Hans Hotter George London James Morris Thomas Quasthoff Ruggero Raimondi Samuel Ramey John Relyea Paul Robeson Laurentiu Rotaru Friedrich Schorr Bryn Terfel Norman Treigle Jos� Van Dam Popular music • • • • • • • Johnny Cash Bill Medley of The Righteous Brothers Jimi Hendrix Ian Curtis of Joy Division Brad Roberts of Crash Test Dummies Paul Banks of Interpol (band) Peter Steele of Type O Negative . The character must have a deep voice of baritone register. darkest. and heaviest of the male voices. According to its author. such as The Lancer. making their usefulness in a choral arrangement even greater. Baritone and Low Voices A bass (or basso in Italian) is a singer who sings in the deepest vocal range of the human voice. Phillips states that the bass's low voice is his strength. The character must be a badass. The Harvard Dictionary of Music defines the range as being from the E below low C to middle C (i.e. Phillips.e. Pamelia S. . Such a character may range from Cool Old Guy to Testosterone Poisoning.[2] According to Singing for Dummies. See also Evil Sounds Deep. According to Grove Music Online.[3]. A character of this sort must fulfill two criteria: 1. Bass register is also possible but is rarer and almost always overlaps with being evil.. bass range is normally F2 to E4 but can be as wide as Eb2 to F4. 2. Instructional materials for Bass. a bass has a range extending from around the F below low C to the E above middle C (i. Most seasoned basses also can train a very versatile falsetto. Phillips also states that the bass's voice is the deepest. Estelle Liebling: Vocal Course for Baritone. F2–E4). Contrast Tenor Boy. Power Makes Your Voice Deep. Guttural Growler.• • Tom Smith of Editors Calvin Harris Badass Baritone He is a manly man. Bass Baritone and Bass Singers . Such characters are frequently supporting roles. E2–C4). and he has a manly voice to prove it. the bass changes from chest voice into middle voice around A3 or Ab3 below middle C and changes into head voice around D4 or C#4 above Middle C. . and the bass's high voice is his weakness. It is also common for men who are classified as "basses" (and have a full bass choral range) to have a speaking voice which may sound much higher than would be expected. PART I The Breath System The Phonating System The Resonating System The Articulating System General Remarks PART II Fundamental Exercises The Mezzo and Contralto Registers Agility Studies The Turn Trill Studies Messa Di Voce Style Special Problems PART III English Foreign Language Diction Italian French German Spanish Glossary of Musical Terms Songs for Sopranos Recordings of Great Singers A method that has long been highly regarded among teachers and students alike. With a unique focus on "securing" the . 6208 BOOK $9. Italian. non-technical language. and Bass Voices . fundamental vocalises carefully selected to develop the specific voices for which the book is written. German and Spanish. Part III presents the important elements of diction in the 5 languages most commonly used in singing: English. Part II consists of basic. French. Bass-Baritone. Each of these books consists of 3 parts: Part I describes the vocal mechanism and its function briefly and in simple. this book draws on techniques and practical advice from Miller's years of professional experience as a performer and pedagogue.95 Richard Miller: Securing Baritone Bass-Baritone And Bass Voices Who is Baritone? The Onset Managing the Breath Vowel Definition and the Chiaroscuro Vowel Modification Moving into Middle Voice Agility Factor Further Consideration More on Positioning of the Larynx Pedagogic Uses of Falsetto for Baritone The Phenomenon of Vibrato Establishing Technical Security Developing an Individual Tonal Concept Dynamic Control Voice Viruses Contributing to Performance Effectiveness Performance Preparation and Enhancement Early Repertoire Suggestions Choosing Audition Material Perhaps the most renowned writer in the field of vocal pedagogy. Richard Miller has delivered a new and outstanding contribution to the study of vocal technique in Securing Baritone. The first thorough and comprehensive treatment of low male voices. and professional performers. always emphasizing the special nature of the male voice and the proper physiological functioning for vocal proficiency.95 Ferdinand Sieber: Thirty-Six Eight-Measure Vocalises for Basses Thirty-Six Eight-Measure vocalises for Basses. Miller synthesizes historic vocal pedagogy with the latest research on the singing voice. 6457 BOOK $23. each serving a particular funtion. complete with solfege. their teachers. perfect for the beginning student. aspiring performers. 6490b BOOK $19. this book is an essential text for performers. through numerous practical exercises and repertoire suggestions appropriate to various stages of development. . the book offers practical advice to students.technical stability of the male voice.95 Nicola Vaccaj: Practical Vocal Method for Baritone Vaccaj's masterly Method won increasing popularity with time. and instructors alike. And it is quite easy material. Even today it is often used by singing teachers. and was eventually used in conservatories all over the world. who consider it a collection of attractive Ariettas. An indispensable guide to male low voices. Low Voice Mathilde Marchesi was a mezzo-soprano. teacher of singing. She was an advocate of a naturalistic style of singing: she called for a fairly instinctive method of breathing and was particularly concerned with vocal registration. the touchstone of all singing methods".6211 BOOK $4.Low Voice .95 Ferdinand Sieber: Thirty-Six Eight-Measure Vocalises for Baritones Thirty-Six Eight Measure Vocalises comes complete with instructions on producing the tone and provides you with the solfege for each note 6484b BOOK $4. calling it "the Alpha and Omega of the formation and development of the female voice. 6466 BOOK $7.95 Giuseppe Concone: Fifty Lessons . These 20 vocalises are perfect for your daily vocal practice and having been used by some of the great singers of the past 100 years.95 Mathilde Marchesi: Twenty Elementary and Progressive Vocalises . and exponent of the bel canto technique. 95 Giuseppe Concone: 40 Lessons. in the author's own words.' and 'to develop taste while singing broad.The sterling value and great usefulness of Concone's lessons have been so long recognized.' and 'to develop taste while singing broad. No edition. however.' This is a vocal training series not to be missed! 6467 BOOK $7. The purpose of these lessons. are 'to place and fix the voice accurately. elegant and rhythmical melodies. that their extensive adoption caused the issue of numerous editions in almost every country where the study of the Art of Singing is cultivated. is as thorough and complete as his 'Fifty Lessons' series.' This is a vocal training series not to be missed! 6479 BOOK $19. No edition. in the author's own words.95 B. Lutgen: Vocalises Vol. however. 1 for Low Voices . that their extensive adoption caused the issue of numerous editions in almost every country where the study of the Art of Singing is cultivated. Op.Low Voice The sterling value and great usefulness of Concone's lessons have been so long recognized. are 'to place and fix the voice accurately. is as thorough and complete as his 'Fifty Lessons' series. elegant and rhythmical melodies. The purpose of these lessons. 17 . and how well it has been received by the highest musical authorities help prove this book to be a worthwhile purchase. With the help of some of their most successful student.Enjoy Exercising Your .95 Chris and Carole Beatty: Daily Workout for Medium & Low Voice Hum-Chew Mum Mum Nee Ah Ha/Ma/Na/Nah/Hah Yoo Ee Yoo Mini Mini Mum Mum Wee Ah Wee Ah Lah Lah Lah Hah Mum Mum Yah Hah Hah Hee Ah Hee Ah Bee Ah Mee May Mah Moh Moo Mee Yah Mee Yah Mee Yah Mee Tee Oh Hum-Chew Lee Lay Lee Lah Mah Nah Zah Nah Pah Yah Yah Thee Ah Thee Ah Yah Yah Yah Mum Mum Lee Yah Mah Bah Flah Ning Mee Ay Ah Nay Nay Nay Preh Nee Nee Ay Ah These two wonderful vocal coaches that have helped many singers realize their full potential.Build Strength and Stamina Throughout Your Range .The aim of these Vocalises is to render the Voice sufficiently flexible and mellow to execute easily and elegantly the colorature and embellishments found in the works of our great composers. 6492 BOOK $4. Work Out and Cool Down Your Voice for Maximum Performance . they can now coach you too! Daily Workout will help you: Warm-Up. The results obtained with this method. Just Songs Vocal Workout Vol.Voice With Fun and Interesting Exercises. 6428 Book & 2CDs $24.95 Susan Anders: The No Scales. Also includes a chart of exercise patterns and difficulty rating. Articulation: Alison Ending Phrases on High Notes: I Hope You Dance Putting it All Together: Bridge Over Troubled Water Belting: Cry . Chromatic Movement: Ms. Singers can learn the essentials of contemporary singing technique OR use the song sequence with or without the recommended warm up sounds as a complete vocal warm up. Articulation: Save the Best for Last Working with Larger Melodic Leaps: Sunny Came Home Putting it All Together: Young at Heart Belting: Crazy Baby This innovative method uses 17 fully produced songs and instructional tracks to teach singers how to develop and maintain good vocal technique. & "R" & "L": I'm Beginning To See the Light Range Expansion & Vibrato Work: Don't Know Why Developing the "Mix" Register: Sunday Kind of Love Opening High Notes with the Inner Smile: Thank You Pitch Work. The CDs can be used with or without the guidebook. Celie’s Blues (Sister) Increasing Tonal Richness. Looping.95 ALTOS AND BASSES Susan Anders: The No Scales. Step-wise Movement: Walk Away Renee Pitch Work. Just Songs Vocal Workout Vol. Consonants. Resonance & Loosening Face and Throat: Centerpiece Approaching Higher Notes: Sweet Dreams Strengthening Low Notes: Wade in the Water Understanding Singer’s Diction: I’ll Stand By You Understanding Singer’s Diction Part 2: Unchained Melody Looping. Ideas and examples for song stylizing are also included. Step-wise Movement: You're Still the One Building Sustenance & Volume: Tracks of My Tears Pitch Work. rock and jazz songs that gradually increase in difficulty. the Inner Smile: Since I Fell for You Building Sustenance & Volume: Dark End of the Street Pitch Work. 6196 CD $16. 1 Breathing & Posture: Angel From Montgomery Tone Placement. Detailed voice instruction is combined with pop. 2 Facial Resonance (Placement): I Can See Clearly Now Breathing & Posture: Dear Prudence Combining Correct Breathing and Placement: Why Don't You Do Right? Approaching Higher Notes: You Gotta Be Strengthening Low Notes: Summertime Understanding Singer’s Diction: One of Us Understanding Singer’s Diction Part 2: Get Here Diphthongs. Chromatic Movement: All of Me Increasing Tonal Richness. Vibrato Development: Can’t Help Falling in Love Register Navigation and Range Expansion: Willow Weep for Me Developing the "Mix" Register: How Sweet it Is Opening High Notes. he served for 30 years and conducted the SIUE Concert Chorale. He joined SIUE music faculty in 1963 and endeared himself to singers and audiences while at the university. He was Professor Emeritus of Music at Southern Illinois University Edwardsville (SIUE).This follow-up to Volume One of Susan Anders’ Vocal Workout includes 18 fully-produced pop. Leonard W. whose name has become synonymous throughout the world with award-winning performance. Song stylizing concepts are included. 6428 Book & 2CDs $24. Beginning singers can learn how to sing correctly and develop their voices by singing through the workout at their own pace.95 ALTOS AND BASSES Leonard Van Camp: Songs For Bass in a Comfortable Range All Through The Night Beautiful Dreamer Bread of the Angels Hark. rock and jazz songs and instructional tracks.95 Joan Frey Boytim: The First Book of Broadway Solos . Experienced singers can skip the audio singing lessons and use the workout to warm up and maintain their vocal technique and strength. Hark! The Lark! I Attempt form Love's Sickness to Fly I Will Sing New Songs of Gladness Let Me Fly My Lovely Celia Now Comrades Be Jolly Now Shines the Fullest Glory of Heaven Streets of New York. Van Camp was known in the United Sates and Europe for his activities related to choral music. The Turtle Dove. as well as chapters on staying healthy on tour and how to keep aging vocal cords strong. 5207 SONGBOOK $21. Expansive performance notes and history for each song makes this a great addition for your repertoire.Baritone/Bass . The Two Songs from Judas Maccabaeus This hard-to-find collection is a wonderful resource for bass singers and features 13 songs along with a piano accompaniment CD. and is the same level of difficulty (so using Volume One is not a prerequisite). with his trade mark lecture-concerts and his fierce enthusiasm for the music he conducted. As director of choral activities at SIUE. with or without the guidebook. The Sound Of Music Get Me To The Church On Time . and has chosen keys that suit the vocal needs of novice singers studying in traditional. humorous songs.The Fantasticks Wunderbar . Each piece is in English and has a limited vocal range as well as a piano accompaniment that is playable by a student pianist.Paint Your Wagon This Nearly Was Mine .The Fantasticks The Surrey With The Fringe On Top . Sweet Chariot Where Did You Get That Hat? While Strolling Through The Park One Day You'll Miss Lots Of Fun When You're Married This series was designed to supplement traditional vocal instruction. Moses I Wish I Was Single Again If You Were The Only Girl In The World The Jolly Miller Joshua Fit The Battle Of Jericho The Lark In The Morn The Lost Chord The Minstrel Boy Mrs.My Fair Lady The Girl That I Marry .South Pacific Try To Remember .Camelot The Impossible Dream .Kiss Me.110 In The Shade How To Handle A Woman .Paint Your Wagon I've Grown Accustomed to Her Face .South Pacific Soon It's Gonna Rain . Smack. Smuck Sometimes I Feel Like A Motherless Child The Story Of A Tact Swing Low. Teachers have found these books invaluable. 9183 SONGBOOK & 2CDs $24.Oklahoma Some Enchanted Evening . Murphy's Chowder Out Of My Soul's Great Sadness Request Simple Gifts Smick.95 Joan Frey Boytim: Easy Songs For The Beginning Baritone/Bass Ura Lee Beautiful Dreamer The Erie Canal Foolish Questions Funiculi.A Funny Thing Happened On The Way To The Forum Edelweiss . Joan Boytim has selected songs appropriate for each voice type.Camelot I Talk To Trees .Comedy Tonight . folksongs.My Fair Lady If I Ever Would Leave You . whether they are teens or college singers or adults. The editions of the songs in these collections are short and straightforward. Kate This is the perfect first collection for many voice students. and suitable vintage . To make the collections even more useful. each volume is offered in a book/companion CD edition with piano accompaniments recorded by pianist Laura Ward.Annie Get Your Gun Gonna Be ANother Hot Day . generally classical lyric singing. The pieces include art songs.Man Of La Mancha Oklahoma .Oklahoma There Is Nothin' Like A Dame .South Pacific They Call The Wind Maria . Funicula Go Down. .A Funny Thing Happened on the Way to the Forum Thank Heaven for Little Girls .Chicago Closer Than Ever . 9185 SONGBOOK & CD $16.Camelot If Ever I Would Leave You . Winter Comes Slowly O Mistress Mine On The Road To Mandalay The Rovin' Gambler The Sea Shenandoah Tally-Ho! There Was A Mighty Monarch This is among the most widely used teaching repertoire for singers in the U.Kiss Me. Kate In Praise of Women .The Fantasticks Comedy Tonight .95 Various Arrangers: Singer's Library of Musical Theatre .The Boys From Syracuse Camelot . Thou Winter Road Blow High.Gigi Just One of Those Things .Li'l Abner .S. sacred songs and a sampling of beginning songs in German.Can-Can Razzle Dazzle .Camelot How To Handle a Woman . Over 30 songs in each book with 2 accompaning CDs.Can-Can It's All Right With Me .Camelot Come Along With Me .A Little Night Music If I Had My Drothers .95 Joan Frey Boytim: The First Book of Baritone/Bass Solos Across The Western Ocean The Bells Of Cleremont Town The Blind Ploughman Blow.42nd Street At Night She Comes Home To Me .Kiss Me.Baby Easier To Love . including American and British art songs. Italian. There is a completely different song selection for each voice type.Doctor Dolittle Try To Remember . folk song arrangements. The accompanying CD includes professionally-recorded accompaniments.Baby This Can't Be Love . Blow. I Want To Be A Christian Next. 9184 SONGBOOK & 2CDs $24.popular songs and are all appropriate for contest solos. Blow Low Create In Me A Clean Heart Encantadora Maria False Phillis The Friar Of Orders Gray Hor Ich Das Liedchen Klingen Intermezzo The Jolly Roger The King Of Love My Shepard Is Leave Me Loathsome Light Let Us Break Bread Together Lord.Baritone / Bass Lullaby of Broadway . Kate Where Is The Life That Late I Led? .Beauty and the Beast Talk to the Animals .The Boys From Syracuse You Have Cast Your Shadow on the Sea .High Society Too Darn Hot . Spanish and French.Closer Than Ever If I Can't Love Her . Puccini . the student and the opera fan to practice. audition tips. 1 La calunnia e un venticello .Stephen Flaherty Make Them Hear You Where's The Girl .Don Carlo Vi ravviso.Macbeth Cantolopera is a series that proposes a totally new way to approach the great opera repertoire: versions for voice and piano of the most famous arias. making it the most useful and relevant collection of its kind. Each volume includes a variety of shows.Paint Your Wagon You Mustn't Kick It Around . as well as a version sung by an established artist for reference.Porgy and Bess I Got Plenty O' Nuttin' . Presented in their original keys and authentically transcribed from the original vocal scores.Bellini .Get me To The Church On Time .Verdi ..A New Brain On A Clear Day .The Scarley Pimpernel How Lucky You Are .l barbiere di Siviglia O tu. the student and the opera fan to practice.Ernani Vecchia zimarra . accompanied by a compact disc containing the corresponding orchestral bases. and 16-bar cut suggestions for each song.Cantolopera is a series that proposes a totally new way to approach the great opera repertoire: versions for voice and piano of the most famous arias. Palermo .Pal Joey I Could Write a Book .Vespri siciliani Infelice!. to allow the professional. o luoghi ameni . Kay! They Call The Wind Maria .My Fair Lady Eating Myself Up Alive . Each volume contains the lyrics of the arias plus a short summary and background information on the 'Compagnia d'Opera Italiana' Orchestra and the performers.Pal Joey A Woman Is A Sometime Thing .La sonnambula Come dal ciel precipita .Oh.Mozart .Verdi . accompanied by a compact disc containing the corresponding orchestral bases.Verdi . as well as a version sung by an established artist for reference.95 Various Composers: Arias for Bass Vol. 8593 SONGBOOK $19.Seussical Alfred's Singer's Library of Musical Theatre features a treasury of the finest musical theatre songs. Each volume contains the lyrics of the arias plus a short summary and background information on the 'Compagnia d'Opera Italiana' Orchestra and the performers.On a Clear Day You Can See Forever Clap Yo' Hands .Rossini . to allow the professional. This is the Baritone / Bass Edition. recorded with a 130-piece orchestra.Verdi .. the songs were selected for each voice type with careful attention to the vocal range of the song. as well as the voice of the character from the original Broadway cast.Don Giovanni Ella giammai m'amo .My Fair Lady I've Grown Accustomed to Her Face . recorded with a 130-piece orchestra. This authoritative series features historical and contextual commentary. spanning every important decade of musical theatre. e tuo credevi .La boheme Madamina il catalogo e questo .Porgy and Bess . . "Too Cool to Care. composer." The others are a manic remake of the Bob's cover of Lennon/McCartney's "Helter Skelter. sacred songs and a sampling of beginning songs in German. the solid rich bass that has anchored the Bobs for so many years.Verdi . as is "Let's Go Wild" but the words are sung rather than spoken. including American and British art songs.Otello O Carlo ascolta. Over 30 songs in each book with 2 accompaning CDs." "Growing Roses" and "Let's Go Wild." Oscar Pettiford's "Tricotism. rispetto.S." and the Mills Brothers' "Doin' the New Low Down.Rossini . There's some wonderful vocal horns on "Doin' the New Low Down. but the emphasis is on the lyrics and on Greene's powerful vocals.Don Carlo This is among the most widely used teaching repertoire for singers in the U. jazzy observation. 8569 SONGBOOK & CD $24.Verdi ." "Nobody's Perfect. folk song arrangements.Verdi .Verdi . of course a founder and driving force behind nu-wave a cappella pioneers The Bobs. Spanish and French. There is a completely different song selection for each voice type. "Nobody's Perfect" is a bluesy.8572 SONGBOOK & CD $24.. and he's a songwriter. lo morro . Included on the 10 songs are 5 Greene originals. amore .Arias for Baritono Resta immobile .Macbeth Cruda.Un ballo in maschera Pieta. arranger and humorist extraordinaire. bass and drums." Most of the songs on "Low?" are accompanied.95 Richard Greene: Low? Bottom? Me? Too Cool To Care! Nobody's Perfect Searching for Poetry Let's Go Wild Growing Roses Helter Skelter The Waters of March Tricotism Everything Happens for a Reason Doin' the New Low-Down "Low? Bottom? Me?" (Lobotomy." "Low?" is a smoky.Guglielmo Tell Eri tu che macchiavi quell'anima ." Searchin' for Poetry. "Too Cool to Care" is a stream of consciousness beatnik coffee-house poem with cool jazz clarinet.95 Various Composers: Cantolopera ... ." Antonio Carlos Jobim's Salsa-flavored "The Waters of March. surprising. Leonard Cohen-esque. get it?) is "super-bass" Richard Bob Greene's first solo CD. funesta smania Donizetti Lucia di Lammermoor Bella siccome un angelo .Nabucco Credo in un Dio crudel . Italian.Verdi ." Richard is.Donizetti .Don Pasquale Dio di Giuda . Bass-Baritone. funny. "takes a hard. Bass-Baritone. Beauty and the Beast and Joseph and the Amazing Technicolor Dreamcoat." -John Cheever Securing Baritone. USA Number Of Pages: 232 Publication Date: 2008-03-19 ISBN-10 / ASIN: 0195322657 ISBN-13 / EAN: 9780195322651 Product Description: Perhaps the most renowned writer in the field of vocal pedagogy. Matching Quote "We praise Him. and we wonder who is that baritone across the aisle and that pretty woman on our right who smells of apple blossoms. 14 at 7:30 PM. Bells Are Ringing. 15. And I hope people will want to come and join in on the dialogue. The Wild Party. ferocious and vocally thrilling. will now be presented next month at New World Stages as a benefit for The Actors Fund. always emphasizing the special nature of the male voice and the proper physiological . we glorify Him. Broadway favorite Kudisch. and professional performers. and has also appeared on Broadway in The Apple Tree. Miller synthesizes historic vocal pedagogy with the latest research on the singing voice. which will please present fans and surely earn him new ones! Three-time Tony nominee Marc Kudisch's solo concert.poetic new direction for Greene's music. and Bass Voices Summary: By Richard Miller • • • • • Publisher: Oxford University Press. according to press notes. The Scarlet Pimpernel. this book draws on techniques and practical advice from Miller's years of professional experience as a performer and pedagogue. which had been scheduled to play Town Hall Jan. With a unique focus on "securing" the technical stability of the male voice. through numerous practical exercises and repertoire suggestions appropriate to various stages of development. Richard Miller has delivered a new and outstanding contribution to the study of vocal technique in Securing Baritone. humorous look at the history of the Baritone voice." The singing actor hopes the evening will be "the opening of a conversation that will be informative. Prepare to engage!" Kudisch received Tony nominations for his performances in 9 to 5. we adore Him. their teachers. The concert will play the Off-Broadway venue Feb. Musical director is Randy Redd. the book offers practical advice to students. High Society. Chitty Chitty Bang Bang and Thoroughly Modern Millie. Our bowels stir and our cod itches and we amend our prayers for the spiritual life with the hope that it will not be too spiritual. The first thorough and comprehensive treatment of low male voices. we bless Him. and Bass Voices. The Lower Depths: A Concert In Defense of the Baritone Voice. even scale. should prevail. or cover (It. Additionally. I followed Prof Miller's suggestion to watch some of the great baritone performances of past days. Need gradual balance of timbre Typically. Exception: u. not methodology. There isn't any one rule for vowel modification. 10 Falsetto practice improves larynx flexibility." In sum. I'm delighted I purchased this book. tongue. 15 Men need greater vowel modifiction and breath control when navigating passagio area 16 Strive for serene air. Helpful exercise: Farinelli breath exercise. and found it to be most helpful in my vocal studies. aspiring performers. I found it helpful to prepare my own glossary of terms. vowel adjusted to be more rounded to reduce shrillness. Don't inject nasality into singing. this book is an essential text for performers. In addition. I am including these as they may prove useful to other readers.) Avoid open voice--voce aperta. c) Visual: Be aware of your facial expressions. smooth breath renewal 4 Poor chiaroscuro balance due to maladjusted lips. and instructors alike. Important to listen to elite singers as examples 14 Gradual energization should be your goal. An indispensable guide to male low voices. instead. 7 Agility depends on brief onset. have to spend extra time studying the physiology terms. 17 . Strive for consistent timbre at all dynamic levels. As one example of the benefit I received from this book. This confidence due to applying common tonal physiology + personal distinctives. Middle voice (about A>D) is critical passage. This forms basis for all singing. with just minor body shifts. 9 Strive for stable larynx position. however. This may happen if vowel not modified at passagio. 6 Singer must develop ear towards uniformity. jaw. Best achieved by practicing short stacatto passages."copertura") Vowel modification is gradual mouth opening beginning at primo passagio. I found Leonard Warren's Largo al factotum absolutely enchanting. b) Sound: We should listen both internally and externally. build your own tonal concept. 11 Vibratto is normal effect and should as a rule be employed.functioning for vocal proficiency. CHAPTER THEMES: 1 Overview of bass/baritone classifications 2 Onset must be precise 3 Strive for silent. study actual physiology of voice. or pharynx Tongue misplacement is common error Using hum helps sense resonance balance 5 'Strive to achive a stable. 12 Technical security cures anxiety. Although I am just a novice singer. 13 Over time. I studied this book in detail. I found Professor Miller to be very readable. with more at the secundo passagio. Avoid strohbass (special larynx lowering. Summary: Scholarly work Rating: 5 This is a great work by a great vocal scholar. I did. "Wisdom of the body" a composite of: a) Feel: Natural grace. This requires: (1) Increased vocal energy (not volume) (2) Vowel modification. I especially appreciated the chapters on the "passaggios. I found it useful to outline the key points in each chapter. somewhat low. truly a great book. There is also an excellent glossary toward the end of the book. and very rewarding--even to a novice singer. with which I was unfamiliar. 8 Not helpful to use imaginary ideas of resonance. Vibratto suffers if pitch not precise at onset. Not too hard a read. Technical security cures anxiety.. Artistic creativity CAN be nurtured. not raw talent is #1 factor in singing success. Visualize the scenario as sharply as possible. This involves daily effort to achieve stable technique.. Strive to accurately portray the song's emotion. it is always put in such a catching way that it revives the memory and makes it easier to communicate to students. thus building positive track record. invaluable. make eye contact. use best piece first. It is typically the lowest . Daily regiment should include (after physical warm-up) technical points in this book. Precisely know the meaning of the words in the text--not just vague familiarity. and glottis closed-cycle increases over open cycle." Summary: Exceptional Pedagogy! Rating: 5 Richard Miller. Although by necessity there is always a good deal in his books that I already know. a master of vocal technique. usually considered as spanning from A2 to F4. I highly recommend it to any who is either a teacher or those that are searching for their voice type. Arias should be fully mastered. occasionally look at different sections. And then there are those details that I dont know. This is a balanced work: practical exercises and physiological and scientific data. Text and music must be totally ingrained before performing. Summary: Wonderful resource. Realistically. Focus on artistic communication. away from self. Rating: 5 This is a wonderful resource for teaching the male voice. Traversing zona di passagio is challenging because energy level increases. Summary: Securing Baritone. Summary: very helpful Rating: 4 As a performer and voice teacher/coach. but actual performance should have "spark of immediacy. young singers should seek small roles first. I find anything by Richard Miller to be helpful. Publicly perform only pieces completely mastered. Use entire-body warm-up (about 20 min) Success requires creating a "tonal ideal" that matches one's instrument. 18 Suggested material 19 For audition. It's been a long time coming and very welcome. Bass-Baritone and Bass Voices Rating: 5 Excellent book as are all the Richard Miller texts. The baritone vocal range is the singing voice between tenor and bass.Dedicated study. resistance to breath exit increases. has produced a volume for every baritone/bass and voice teacher's library. During performance. The bass voice is sometimes considered as a baritone who possesses a greater extension into the lower range. as are the tenor and bass.in SATB (voice) choir. sometimes as low as C2 Quote Berlioz: . The baritone voice is written in bass clef and is sung by a male singer. . Giulia Grisi and Mario. . method impeccable. Giam-Batista Rubini. the music that was written for them. as the discussion will show. One might expect such a figure to leave a clear tradition or style to imitate.’. with nearly all of them there is no literal. in the development of the baritone voice he stands like a technical colossus astride the nineteenth century. if we must piece together an idea of possible sounds and styles. adding to the astonishing array and brightness of ‘stellar’ talent in the operatic firmament which he shared and adorned – but because he is a paradoxical figure too. in terms of technique. recorded sound evidence whatsoever.. Adolphe Nourrit. There were great baritones who followed him and had great careers. perhaps in the way Caruso has influenced all tenors who have come after him. that housed and kept that sound world : nothing else. separating him substantially in terms of ability from most if not nearly all of his fellow lower/low voiced contemporaries. many great singers in the story of opera and song we have nothing but the written record. brilliantly employed. no early forgotten mechanical attempts to preserve the sound of this technical titan.‘What a man! An actor of wit and poise. Domenico Donzelli and his ‘I Puritani’ singers. in the art and the popular culture of the time creating this paradoxical figure that is Antonio Tamburini. Like so many. spanning operatic continents and decades and whose names come down to us with Tamburini’s: as with him. power and sweetness combined – everything. then that is all we can use to do this. Antonio Tamburini (1800 – 1876) Ironically. Tamburini is such a fascinating figure historically in the development of the baritone voice . the art of classical and operatic baritone singing may have reached its apogee with the singer Antonio Tamburini (1800 – 1876).not simply because he was clearly one of the greatest artists the lyric stage had ever seen. with contemporaries such as Maria Malibran. The reasons. centre too on developments in opera and operatic singing. the preserved instruments that accompanied the voices and shared their sound world and examples of extant theatres dating from those times. Henriette Sontag. It’s superb!’ Hector Berlioz on hearing Tamburini sing in Naples in 1831. His style has become part of a now semi-legendary ‘bel canto’ past. Giuditta Pasta. There are no sound recordings (for obvious reasons). pure and simple. part of the great Romantic explosion of talent in operatic singing in the first half of the Nineteenth century. no wax cylinders. voice admirable. nothing sounding like ‘ quote Michael Scott …’ showing us precious aural glimpses of Tamburini in ‘. Gilbert-Louis Duprez. Luigi Lablache. unbelievable ease of delivery.. The paradox in one way is simple: he was so good he simply left no successors. Many succeeded to his repertoire but none to his mantle – he remains unique in operatic history and in the history of the baritone voice but the reasons for this are more complex than simply a colossal amount of musical and dramatic talent. Historically.