Baritenor
Baritenor (also rendered in
In opera
Baritenor (or its
Italian musicologist
With the rise of the castrato 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.[17] Although there were exceptions, such as Dario in Vivaldi's L'incoronazione di Dario (created by the tenor Annibale Pio Fabri),[18] 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.[19] In French opera of the same period, the baritenor voice, called the taille (or haute-taille) before the term ténor 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 hautes-contre.[20] Today the taille roles are most often performed by baritones.[citation needed]
In vocal pedagogy
In musical theatre
Despite being described in Acting the Song: Performance Skills for the Musical Theatre as a term "coined" by "musical theatre
Saltzman and Dési ascribe the rise of the baritenor voice in musical theatre to the introduction of amplification in the second half of the 20th century. Prior to that, the leading roles were predominantly sung by tenors and sopranos 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 allowed male leading roles to be assigned to baritones, albeit ones who often had an extension into the tenor range.[44] David Young also notes that the baritenor voice can be particularly useful for roles such as Marius in Fanny where the character ages significantly during the course of the musical.[45]
Notes
- ^ e.g. Deer and Dal Vera (2008) p. 356; Boytim (2002) p. 45
- ^ e.g. Hubbard (1910) p. 58; Kaufman (1998); Turp (2000)
- ^ Thurner (1993) p. 12
- ^ Webster's Dictionary (1961), Vol. 1, p. 176
- ^ Hubbard (1910) p. 58. See also: Elson (1905) p. 30; Ludden (1875) p. 27; Schuberth (1880) p. 33
- ^ e.g. Celletti (1996) p. 163; Turp (2000)
- ^ Milnes (1992) p. 1095
- ^ Badenes (2005) p. 28; Teatro La Fenice (2005) p. 122
- ^ Celletti (1996) p. 82-94.
- ^ Celletti (1989) p. 19 and Celletti (1996) p. 32
- ^ Dorsi and Rausa, pp. 137—138.
- ^ Potter (2009) pp. 17-18
- ^ Whenham (1986) p. 5
- ^ Whenham (1986) p. 113
- ^ Holland (12 June 1999)
- ^ Potter (2009) p. 17. See Wistreich (2007) p. 198 for Giustiniani's descriptions.
- ^ Celletti (1996) p. 7
- ^ Casaglia (2005).
- ^ This was not the case in France, however, where there was a distaste for castrati in such roles. See Heriot (1975) p. 13
- ^ 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 New Grove Dictionary, II, pp. 668/669, and III, p. 690
- ^ Miller (2008) p. 10. See also: Boytim (2002) p. 45; Frisell (2007) p. 64; Blier (2003)
- ^ Miller (2008) p. 11
- ^ Rosenthal and Warrack (1979) p. 129
- ^ Rosenthal and Warrack (1979) p. 558
- ^ Rosenthal and Warrack (1979) p. 556
- ^ Rosenthal and Warrack (1979) p. 319
- ^ Rosenthal and Warrack (1979) p. 446
- ^ Rosenthal and Warrack (1979) p. 137; Tommasini (27 September 1998)
- ^ Scott (13 August 2010)
- ^ Time 7 December 1959
- ^ "Groban leads U.S. pop charts in slow sales week". Reuters. 5 December 2007. Retrieved 3 May 2015.
- ^ "Twitter / joshgroban: A baritone with some high notes". Twitter.com. Retrieved 23 May 2014.
- ^ "Josh Groban's "Full-Circle Moment"". CBS News. 8 February 2008. Retrieved 3 May 2015.
- ^ Traubner (2003)
- ^ Moore and Bergman (2008) p. 10
- ^ Society for the Diffusion of Useful Knowledge (1835) Vol. 3, p. 524; Fétis (1829) Vol. 4. p. 8
- ^ Billboard (26 August 1950) p. 40
- ^ Deer and Dal Vera (2008) in p. 356
- ^ Encore Theater Company
- ^ Maupin (3 March 2009)
- ^ Playbill (March 2009)
- ^ actorsingers.org (January 2009)
- ^ New York Theatre Guide (8 April 2008)
- ^ Salzman and Dési (2008) p. 22
- ^ Young (1995) p. 6
References
- actorsingers.org, Character Analysis - The Producers, January 2009. Accessed 4 March 2009.
- Badenes, Gonzalo, Voces: (Ritmo, 1987-2000), Universitat de València, 2005. ISBN 84-370-6255-1
- ISSN 0006-2510
- Blier, Steven, "Trading Up", Opera News, August 2003. Accessed 3 March 2009.
- Boytim, Joan Frey, The Private Voice Studio Handbook: A Practical Guide to All Aspects of Teaching, Hal Leonard Corporation, 2002. ISBN 0-634-04738-8
- Casaglia, Gherardo (2005). "Annibale Pio Fabri". L'Almanacco di Gherardo Casaglia (in Italian).
- Celletti, Rodolfo, Voce di tenore, IdeaLibri, 1989. ISBN 88-7082-127-7
- Celletti, Rodolfo, A History of Bel Canto (translated from the Italian by Frederick Fuller), Oxford University Press, 1996. ISBN 0-19-816641-9
- Deer, Joe and Dal Vera, Rocco, Acting in Musical Theatre: A Comprehensive Course, Routledge, 2008. ISBN 0-415-77318-0
- Dorsi, Fabrizio and Rausa, Giuseppe, Storia dell'opera italiana. Paravia Bruno Mondadori, 2000. ISBN 88-424-9408-9
- Elson, Louis Charles, Elson's Music Dictionary: Containing the Definition and Pronunciation of Such Terms and Signs as are Used in Modern Music, O. Ditson Company, 1905.
- Encore Theater Company, Audition for Rent March 14 & 15, 1 March 2010. Accessed 27 August 2010.
- Fétis, F. J., (ed.), Revue musicale, Alexander Mesnier, 1829.
- Frisell, Anthony, The Tenor Voice: A Personal Guide to Acquiring a Superior Singing Technique, Branden Books, 2007. ISBN 0-8283-2183-3
- Heriot, Angus, The Castrati in Opera, Calder and Boyars, 1976. ISBN 0-7145-0153-0
- Holland, Bernard, "Opera Made Whole With Dance", The New York Times, 12 June 1999. Accessed 5 March 2009.
- Hubbard, William L., The American History and Encyclopedia of Music, originally published in 1910, republished in ISBN 1-4179-0200-0
- Kaufman, Tom, Liner Notes: Hermann Jadlowker - Dramatic Coloratura Tenor, Marston Records, 1998. Accessed 3 March 2009.
- Ludden, William, Pronouncing Musical Dictionary of Technical Words, Phrases and Abbreviations, O. Ditson, 1875.
- Maupin, Elizabeth, "Theater auditions: Broadway's 'Jersey Boys' in Orlando", Orlando Sentinel, 3 March 2009. Accessed 4 March 2009.
- ISBN 978-0-19-532265-1
- Milnes, Rodney (ed.), Opera, Vol. 43:7-12, July 1992.
- Minter, Drew, "Vivaldi: Farnace", Opera News, October 2002. Accessed 4 March 2009.
- The ISBN 1-56159-228-5
- New York Theatre Guide, The Story of My Life, new musical by Bartram & Hill, aims to bow on Broadway in Jan 2009 Archived 7 March 2016 at the Wayback Machine, 8 April 2008. Accessed 4 March 2009.
- Playbill, "The Wiz - Equity Principal Auditions", March 2009. Accessed 4 March 2009.
- ISBN 978-0-300-11873-5
- ISBN 0-19-311321-X
- Moore, Tracey and Bergman, Allison, Acting the Song: Performance Skills for the Musical Theatre, Allworth Communications, 2008. ISBN 1-58115-505-0
- ISBN 0-19-509936-2
- Schuberth, Julius, Kleines musikalisches Conversations-lexikon, originally published in 1880, republished in facsimile by Elimont Classics, 2001. ISBN 0-543-90670-1
- Scott, Bruce, "Domingo The Baritone In Verdi's Simon Boccanegra", The World of Opera, National Public Radio, 13 August 2010. Accessed 27 August 2010.
- Society for the Diffusion of Useful Knowledge, The Penny Cyclopædia, Charles Knight, 1835.
- Teatro La Fenice, Programma di sala: Maometto II, 2005. Accessed 4 March 2009.
- Time, "Goulash Without Paprika", 7 December 1959. Accessed 27 August 2010.
- Tommasini, Anthony, "A Tenor Who Knows No Bounds", The New York Times, 27 September 1998. Accessed 3 March 2009.
- Turp, Richard, The Evolution of the Voice, La Scena Musicale, Vol. 6, No.3, November 2000. Accessed 3 March 2009.
- Thurner, Dick, Portmanteau Dictionary: Blend Words in the English Language, McFarland & Co., 1993. ISBN 0-89950-687-9
- Traubner, Richard, Coward: Songbook, American Record Guide, January 2003. Accessed 20 March 2009.
- Webster's Third New International Dictionary of the English Language (Unabridged), G. & C. Merriam Company, 1961.
- Whenham, John, Claudio Monteverdi: Orfeo, Cambridge University Press, 1986. ISBN 0-521-28477-5
- Wistrich, Richard, Warrior, courtier, singer: Giulio Cesare Brancaccio and the performance of identity in the late Renaissance, Ashgate Publishing, Ltd., 2007. ISBN 0-7546-5414-1
- Young, David, How to Direct a Musical: Broadway your Way!, Taylor & Francis, 1995. ISBN 0-87830-052-X
External links
- "David Daniels" (Andante, 2002), an interview by Jason Serinus with the American countertenor, David Daniels, who describes his early vocal training and the transition from a baritenor voice to that of a countertenor.
- "Dr. Bennati's Researches on the Mechanism of the Human Voice" (The Edinburgh Medical and Surgical Journal, 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, Domenico Donzelli and Gaetano Crivelli. (Francesco Bennati (1798–1834) was an Italian baritone who later became an eminent physician. Primarily a laryngologist, he was the house physician to the Opéra-Italien in Paris.)