427:
236:
69:
533:
with even the baritone characters tending to sing in the upper part of their range. This was due not only to the popular taste of the times, but also to the fact that higher voices were more capable of riding over the orchestra and reaching the furthest seats. The introduction of amplification
1279:
262:), the leading male roles (and especially that of the romantic lover) in Italian operas of the middle and late baroque era were largely written for the high, exotic voices of the castrati. In French opera of the same period, the baritenor voice, called the
251:
singer in
Italian opera, the baritenor voice came to be perceived as "ordinary" or even "vulgar" and was relegated to portraying character roles – villains, grotesques, old men, and even women. Although there were exceptions, such as Dario in Vivaldi's
274:
came into general use, was little used for important solo parts, although possibly more often than in
Italian opera. Because of the general dislike for the castrato voice in France, young lover roles were assigned to the high male voices of
182:(1640) were essentially "baritenor" ones with a range common to both the baritone and tenor voices of today. Much the same position was also adopted in 2000 by Fabrizio Dorsi in his history of Italian opera. In his 2009 book,
534:
allowed male leading roles to be assigned to baritones, albeit ones who often had an extension into the tenor range. David Young also notes that the baritenor voice can be particularly useful for roles such as Marius in
358:. In both these types of tenor roles the highest notes of the tenor range are rarely required, and the voice usually has a baritonal weight in the lower notes. Several famous tenors who have sung the dramatic tenor and
232:(1628), Potter has suggested that singers such as Caccini, Cenci, Puliaschi, and Rasi, employed an "open speech-like sound" which facilitated the agility and clarity of expression for which their voices were renowned.
135:(1818), with a similar contrast in characters – Nozzari sang the role of Agorante, King of Nubia, while David portrayed the Christian knight, Ricciardo. Other notable baritenors of this period beside Nozzari were
190:
refers to this type of voice as "tenor-bass" and notes that several virtuoso singers of the 17th century who were described as "tenors" by their contemporaries could also sing in the
203:
730:
Potter, p. 19; Heriot (1975) p. 13; for the usage of French terminology, see also: L. Sawkins, art. "Haute-contre", and O. Jander, J.B. Steane, E. Forbes, art. "Tenor", in
1026:
1668:, Vol. 40, 1833) presents an early 19th-century view of the baritenor operatic voice and the vocal problems experienced by two famous baritenors of the day,
449:
in relation to the operatic voice can be seen in
English sources since at least 1835, and French ones since 1829. Nevertheless, the term is widely used in
107:
singing. Rossini used this type of voice to portray noble (and usually older), leading characters, often in contrast to the higher, lighter voices of the
1069:
199:
1505:
1242:
1180:
1530:
1364:
1262:
1231:
158:
proposed that the
Rossinian baritenor was nothing new to opera. According to Celletti, the tenor voices used for leading roles in early
1378:
1709:
1643:
1520:
1098:
1400:
1305:
1458:
1174:
Elson's Music
Dictionary: Containing the Definition and Pronunciation of Such Terms and Signs as are Used in Modern Music
721:
This was not the case in France, however, where there was a distaste for castrati in such roles. See Heriot (1975) p. 13
103:'s operas. It is characterized by a dark, weighty lower octave and a ringing upper one but with sufficient agility for
1605:
1589:
1631:
1615:
1599:
1562:
1468:
1452:
1433:
1417:
1352:
1344:
1256:
1225:
1211:
1167:
1153:
1137:
1121:
1092:
1044:
470:
326:
1493:
178:
125:), while the role of Rodrigo, his young rival for the affections of Desdemona, was written for a tenore di grazia (
1442:
1194:
418:
is generally recognized as a baritenor, and he describes himself as "a baritone with some high notes up sleeve".
336:
56:". However, the term was defined in several late 19th century and early 20th century music dictionaries, such as
1143:
1295:
1082:
529:
in the second half of the 20th century. Prior to that, the leading roles were predominantly sung by tenors and
515:
1423:
1055:
1036:
1658:, who describes his early vocal training and the transition from a baritenor voice to that of a countertenor.
1621:
1335:
1323:
1676:. (Francesco Bennati (1798–1834) was an Italian baritone who later became an eminent physician. Primarily a
386:. Towards the end of his career, Domingo returned to the baritone repertoire when he sang the title role in
1655:
1607:
Warrior, courtier, singer: Giulio Cesare
Brancaccio and the performance of identity in the late Renaissance
1702:
254:
2012:
1190:
526:
478:
1315:
1474:
837:
144:
1580:
1568:
1291:
509:
492:
295:
48:
1063:
885:
2017:
1695:
1384:
595:
Hubbard (1910) p. 58. See also: Elson (1905) p. 30; Ludden (1875) p. 27; Schuberth (1880) p. 33
187:
928:
Society for the
Diffusion of Useful Knowledge (1835) Vol. 3, p. 524; FĂ©tis (1829) Vol. 4. p. 8
1573:
1486:
1392:
1358:
462:
302:(most comfortable vocal range) lies between that of a baritone and that of a tenor and whose
217:
2007:
1966:
1050:
863:
525:
and DĂ©si ascribe the rise of the baritenor voice in musical theatre to the introduction of
225:
115:
who portrayed the young, impetuous lovers. An example of this contrast can be found in his
1681:
68:
8:
131:
1687:
1855:
1781:
1753:
1535:
405:
367:
331:
259:
173:
140:
112:
743:
Miller (2008) p. 10. See also: Boytim (2002) p. 45; Frisell (2007) p. 64; Blier (2003)
383:
1946:
1887:
1669:
1627:
1611:
1595:
1558:
1526:
1464:
1448:
1429:
1413:
1396:
1348:
1340:
1301:
1252:
1221:
1207:
1163:
1149:
1133:
1117:
1088:
1059:
1040:
400:) was primarily a stage and film actor, but he also sang tenor roles in musicals and
191:
148:
1463:, originally published in 1880, republished in facsimile by Elimont Classics, 2001.
477:
were being written for baritenors. Amongst the roles specifying baritenor voices in
1860:
1801:
1738:
1722:
1673:
1405:
1284:
388:
375:
314:
307:
221:
155:
136:
117:
108:
88:
23:
1132:(translated from the Italian by Frederick Fuller), Oxford University Press, 1996.
321:
1806:
1661:
1515:
1368:
1127:
536:
450:
410:
291:
168:
694:
Potter (2009) p. 17. See
Wistreich (2007) p. 198 for Giustiniani's descriptions.
1920:
1892:
1796:
1730:
1084:
The
Private Voice Studio Handbook: A Practical Guide to All Aspects of Teaching
483:
371:
363:
240:
207:
195:
126:
122:
73:
1543:
473:. Deer and Dal Vera have noted that by 2008, the majority of leading roles in
430:
348:
2001:
1882:
1813:
1791:
1718:
1310:
393:
379:
298:
use the term to refer to a common voice category in young male singers whose
159:
1273:
Pronouncing
Musical Dictionary of Technical Words, Phrases and Abbreviations
1986:
1910:
1850:
1833:
1651:
1438:
1204:
The Tenor Voice: A Personal Guide to Acquiring a Superior Singing Technique
522:
474:
466:
276:
1981:
1936:
1865:
1771:
1748:
540:
where the character ages significantly during the course of the musical.
497:
415:
342:
163:
53:
35:
1362:, new musical by Bartram & Hill, aims to bow on Broadway in Jan 2009
1961:
1951:
1763:
1074:
488:
397:
212:
104:
77:
433:, whose singing voice has been described as "a distinctive baritenor"
426:
320:. Such singers can evolve, either naturally or through training, into
1971:
1956:
1838:
1818:
1786:
1501:
1248:
442:
303:
299:
1582:
Webster's Third New International Dictionary of the English Language
1915:
1877:
1828:
1743:
1374:
889:
454:
401:
248:
39:
806:
Rosenthal and Warrack (1979) p. 137; Tommasini (27 September 1998)
235:
52:
it is defined as "a baritone singing voice with virtually a tenor
1776:
841:
530:
503:
362:
repertory originally began their careers as baritones, including
354:
100:
1976:
1677:
121:(1816), where the role of Otello was written for a baritenore (
1662:"Dr. Bennati's Researches on the Mechanism of the Human Voice"
461:
range, and was used as early as 1950 to describe the voice of
216:(1607), which in modern times has been sung by tenors such as
1845:
458:
96:
46:". It is used to describe both baritone and tenor voices. In
43:
1941:
1822:
1555:
Portmanteau Dictionary: Blend Words in the English Language
1425:
Acting the Song: Performance Skills for the Musical Theatre
439:
Acting the Song: Performance Skills for the Musical Theatre
210:. Rasi created the title role in Monteverdi's first opera,
1717:
1650:, 2002), an interview by Jason Serinus with the American
1444:
The New Music Theater: Seeing the Voice, Hearing the Body
556:
e.g. Deer and Dal Vera (2008) p. 356; Boytim (2002) p. 45
1280:"Theater auditions: Broadway's 'Jersey Boys' in Orlando"
864:"Twitter / joshgroban: A baritone with some high notes"
565:
e.g. Hubbard (1910) p. 58; Kaufman (1998); Turp (2000)
1550:, Vol. 6, No.3, November 2000. Accessed 3 March 2009.
622:
Badenes (2005) p. 28; Teatro La Fenice (2005) p. 122
129:). Nozzari and David were paired again in Rossini's
334:, suitable for character roles such as Pedrillo in
1412:, second edition, Oxford University Press, 1979.
1297:Securing Baritone, Bass-Baritone, and Bass Voices
1145:Acting in Musical Theatre: A Comprehensive Course
838:"Groban leads U.S. pop charts in slow sales week"
501:); Wizard, Cowardly Lion, Scarecrow, and Tinman (
324:, suitable for operatic roles such as Pelléas in
1999:
1585:(Unabridged), G. & C. Merriam Company, 1961.
1492:Society for the Diffusion of Useful Knowledge,
1268:, Marston Records, 1998. Accessed 3 March 2009.
1247:, originally published in 1910, republished in
640:Celletti (1989) p. 19 and Celletti (1996) p. 32
1244:The American History and Encyclopedia of Music
58:The American History and Encyclopedia of Music
1703:
1265:Hermann Jadlowker - Dramatic Coloratura Tenor
283:roles are most often performed by baritones.
99:voice which came to particular prominence in
392:. Self-described as "a bastard bari-tenor",
95:) is still used today to describe a type of
60:, as "a low tenor voice, almost baritone ."
49:Webster's Third New International Dictionary
1623:How to Direct a Musical: Broadway your Way!
1539:, 27 September 1998. Accessed 3 March 2009.
1523:, 7 December 1959. Accessed 27 August 2010.
1460:Kleines musikalisches Conversations-lexikon
346:who sing leading roles such as Siegmund in
1710:
1696:
1666:The Edinburgh Medical and Surgical Journal
1489:, 13 August 2010. Accessed 27 August 2010.
481:between 2008 and 2010 were: Tom Collins (
1187:, 1 March 2010. Accessed 27 August 2010.
604:e.g. Celletti (1996) p. 163; Turp (2000)
425:
234:
67:
1577:, January 2003. Accessed 20 March 2009.
441:as a term "coined" by "musical theatre
220:as well as by lyric baritones, such as
2000:
1410:The Concise Oxford Dictionary of Opera
1379:"The Wiz - Equity Principal Auditions"
1371:, 8 April 2008. Accessed 4 March 2009.
1330:, October 2002. Accessed 4 March 2009.
1288:, 3 March 2009. Accessed 4 March 2009.
1238:, 12 June 1999. Accessed 5 March 2009.
1032:, January 2009. Accessed 4 March 2009.
513:); and Thomas Weaver and Alvin Kelby (
457:voice capable of singing notes in the
330:. Alternatively, they may evolve into
1691:
1158:Dorsi, Fabrizio and Rausa, Giuseppe,
1078:, August 2003. Accessed 3 March 2009.
994:New York Theatre Guide (8 April 2008)
507:); Max Bialystock and Leopold Bloom (
421:
1680:, he was the house physician to the
1594:, Cambridge University Press, 1986.
1447:, Oxford University Press US, 2008.
1422:Moore, Tracey and Bergman, Allison,
1381:, March 2009. Accessed 4 March 2009.
1300:, Oxford University Press US, 2008.
886:"Josh Groban's "Full-Circle Moment""
286:
243:who originally trained as a baritone
1105:. L'Almanacco di Gherardo Casaglia
1058:, Vol. 62, No. 34. 26 August 1950.
797:Rosenthal and Warrack (1979) p. 446
788:Rosenthal and Warrack (1979) p. 319
779:Rosenthal and Warrack (1979) p. 556
770:Rosenthal and Warrack (1979) p. 558
761:Rosenthal and Warrack (1979) p. 129
13:
1610:, Ashgate Publishing, Ltd., 2007.
1339:, edited by Stanley Sadie (1992).
949:Deer and Dal Vera (2008) in p. 356
734:, II, pp. 668/669, and III, p. 690
14:
2029:
1637:
1475:"Domingo The Baritone In Verdi's
1428:, Allworth Communications, 2008.
1162:. Paravia Bruno Mondadori, 2000.
1087:, Hal Leonard Corporation, 2002.
1039:, Universitat de València, 2005.
224:. Based on their descriptions in
1251:by Kessinger Publishing, 2005.
1142:Deer, Joe and Dal Vera, Rocco,
1006:
997:
988:
985:actorsingers.org (January 2009)
979:
970:
961:
952:
943:
931:
922:
913:
904:
878:
856:
830:
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773:
764:
755:
746:
737:
724:
715:
706:
697:
688:
679:
670:
661:
652:
643:
634:
337:The Abduction from the Seraglio
1626:, Taylor & Francis, 1995.
1511:, 2005. Accessed 4 March 2009.
919:Moore and Bergman (2008) p. 10
625:
616:
607:
598:
589:
577:
568:
559:
550:
16:A tenor with a lower mid-range
1:
1557:, McFarland & Co., 1993.
1531:"A Tenor Who Knows No Bounds"
1336:New Grove Dictionary of Opera
1232:"Opera Made Whole With Dance"
1019:
1003:Salzman and DĂ©si (2008) p. 22
649:Dorsi and Rausa, pp. 137—138.
179:Il ritorno d'Ulisse in patria
7:
1220:, Calder and Boyars, 1976.
437:Despite being described in
414:. In popular music, singer
396:(the son of operatic tenor
204:Giovanni Domenico Puliaschi
63:
10:
2034:
1544:The Evolution of the Voice
1319:, Vol. 43:7-12, July 1992.
1199:, Alexander Mesnier, 1829.
1176:, O. Ditson Company, 1905.
1160:Storia dell'opera italiana
1097:Casaglia, Gherardo (2005).
1929:
1903:
1762:
1729:
1591:Claudio Monteverdi: Orfeo
1521:"Goulash Without Paprika"
1389:Tenor, History of a voice
1037:Voces: (Ritmo, 1987-2000)
631:Celletti (1996) p. 82-94.
184:Tenor: History of a voice
1719:Musical range or compass
1395:, New Haven, CT/London,
1357:New York Theatre Guide,
1179:Encore Theater Company,
543:
255:L'incoronazione di Dario
230:Discorso sopra la musica
1498:, Charles Knight, 1835.
1206:, Branden Books, 2007.
658:Potter (2009) pp. 17-18
1172:Elson, Louis Charles,
1129:A History of Bel Canto
958:Encore Theater Company
940:(26 August 1950) p. 40
815:Scott (13 August 2010)
685:Holland (12 June 1999)
586:(1961), Vol. 1, p. 176
434:
404:, and appeared at the
258:(created by the tenor
244:
84:
38:(blend) of the words "
1574:American Record Guide
1487:National Public Radio
1393:Yale University Press
1241:Hubbard, William L.,
1218:The Castrati in Opera
1027:Character Analysis -
976:Playbill (March 2009)
967:Maupin (3 March 2009)
676:Whenham (1986) p. 113
613:Milnes (1992) p. 1095
429:
408:in 1959 as Zsupán in
247:With the rise of the
238:
218:Anthony Rolfe Johnson
154:Italian musicologist
82:Il sogno di Partenope
71:
1604:Wistrich, Richard,
1495:The Penny Cyclopædia
1367:7 March 2016 at the
1360:The Story of My Life
1311:Milnes, Rodney (ed.)
732:New Grove Dictionary
703:Celletti (1996) p. 7
584:Webster's Dictionary
574:Thurner (1993) p. 12
516:The Story of My Life
327:Pelléas et Mélisande
226:Vincenzo Giustiniani
1567:Traubner, Richard,
1506:Programma di sala:
1457:Schuberth, Julius,
1278:Maupin, Elizabeth,
1148:, Routledge, 2008.
1126:Celletti, Rodolfo,
1116:, IdeaLibri, 1989.
1112:Celletti, Rodolfo,
1081:Boytim, Joan Frey,
752:Miller (2008) p. 11
667:Whenham (1986) p. 5
132:Ricciardo e Zoraide
76:as Poliflegante in
1967:Organ registration
1856:Tenore contraltino
1536:The New York Times
1527:Tommasini, Anthony
1483:The World of Opera
1441:and DĂ©si, Thomas,
1324:"Vivaldi: Farnace"
1275:, O. Ditson, 1875.
1236:The New York Times
1230:Holland, Bernard,
1202:Frisell, Anthony,
1101:Annibale Pio Fabri
1056:Vaudeville Reviews
1035:Badenes, Gonzalo,
1025:actorsingers.org,
435:
422:In musical theatre
406:Metropolitan Opera
368:Giovanni Zenatello
270:) before the term
260:Annibale Pio Fabri
245:
174:Claudio Monteverdi
141:Nicola Tacchinardi
113:tenore contraltino
87:Baritenor (or its
85:
22:(also rendered in
2013:Opera terminology
1995:
1994:
1670:Domenico Donzelli
1548:La Scena Musicale
1408:and Warrack, J.,
1401:978-0-300-11873-5
1306:978-0-19-532265-1
1271:Ludden, William,
1185:March 14 & 15
1012:Young (1995) p. 6
892:. 8 February 2008
844:. 5 December 2007
471:Paramount Theatre
287:In vocal pedagogy
149:Domenico Donzelli
145:Manuel GarcĂa Sr.
2025:
1930:Related articles
1861:Tenore di grazia
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1471:
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364:Jean de Reszke
322:high baritones
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296:Richard Miller
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241:Jean de Reszke
208:Francesco Rasi
196:Giulio Caccini
160:baroque operas
127:Giovanni David
123:Andrea Nozzari
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1107:(in Italian)
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1070:"Trading Up"
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463:Eddie Fisher
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2008:Voice types
1982:Vocal range
1937:Chest voice
1866:Heldentenor
1772:Boy soprano
1508:Maometto II
498:Jersey Boys
431:Noël Coward
416:Josh Groban
360:heldentenor
349:Die WalkĂĽre
332:spieltenors
188:John Potter
172:(1600) and
164:Jacopo Peri
36:portmanteau
26:sources as
2002:Categories
1962:Pedal tone
1952:Head voice
1782:Coloratura
1764:Voice type
1684:in Paris.)
1385:Potter, J.
1328:Opera News
1075:Opera News
1020:References
443:vernacular
398:Leo Slezak
194:register:
105:coloratura
93:baritenore
72:Baritenor
32:baritenore
28:bari-tenor
1972:Tessitura
1957:Passaggio
1947:Extension
1873:Baritenor
1839:Sopranist
1819:Contralto
1787:Soubrette
1754:Vocal fry
1249:facsimile
1193:, (ed.),
1064:0006-2510
1051:Billboard
938:Billboard
447:baritenor
402:operettas
300:tessitura
20:Baritenor
1916:Sub-bass
1878:Baritone
1829:Castrato
1802:Dramatic
1744:Falsetto
1723:register
1375:Playbill
1365:Archived
890:CBS News
531:sopranos
523:Saltzman
455:baritone
340:or into
294:such as
249:castrato
169:Euridice
162:such as
64:In opera
40:baritone
1777:Soprano
1739:Whistle
1648:Andante
842:Reuters
504:The Wiz
355:Fidelio
213:L'Orfeo
111:or the
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89:Italian
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281:taille
264:taille
239:Tenor
118:Otello
91:form,
1904:Sound
1846:Tenor
1792:Lyric
1749:Modal
1316:Opera
896:3 May
848:3 May
544:Notes
537:Fanny
493:Tommy
465:in a
459:tenor
272:ténor
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54:range
44:tenor
1942:Clef
1911:Bass
1888:Bass
1823:Alto
1721:and
1672:and
1628:ISBN
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1516:Time
1465:ISBN
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1347:and
1341:ISBN
1333:The
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1222:ISBN
1208:ISBN
1183:Rent
1164:ISBN
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872:2014
850:2015
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491:and
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313:and
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