Baritenor (also rendered in English-language sources as bari-tenor[1] or baritenore[2]) is a portmanteau (blend) of the words "baritone" and "tenor".[3] It is used to describe both baritone and tenor voices. In Webster's Third New International Dictionary it is defined as "a baritone singing voice with virtually a tenor range".[4] However, the term was defined in several late 19th century and early 20th century music dictionaries, such as The American History and Encyclopedia of Music, as "a low tenor voice, almost barytone [sic]."[5]
Baritenor Andrea Nozzari as Poliflegante in Mayr's Il sogno di Partenope
Baritenor (or its Italian form, baritenore) is still used today to describe a type of tenor voice which came to particular prominence in Rossini's operas.[6] It is characterized by a dark, weighty lower octave and a ringing upper one but with sufficient agility for coloratura singing.[7] Rossini used this type of voice to portray noble (and usually older), leading characters, often in contrast to the higher, lighter voices of the tenore di grazia or the tenore contraltino who portrayed the young, impetuous lovers.[8] An example of this contrast can be found in his Otello (1816), where the role of Otello was written for a baritenore (Andrea Nozzari), while the role of Rodrigo, his young rival for the affections of Desdemona, was written for a tenore di grazia (Giovanni David). Nozzari and David were paired again in Rossini's Ricciardo e Zoraide (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 Gaetano Crivelli, Nicola Tacchinardi, Manuel García Sr. and Domenico Donzelli.[9]
Italian musicologist Rodolfo Celletti proposed that the Rossinian baritenor was nothing new to opera. According to Celletti, the tenor voices used for leading roles in early baroque operas such as Jacopo Peri's Euridice (1600) and Claudio Monteverdi's Il ritorno d'Ulisse in patria (1640) were essentially "baritenor" ones with a range common to both the baritone and tenor voices of today.[10] Much the same position was also adopted in 2000 by Fabrizio Dorsi in his history of Italian opera.[11] In his 2009 book, Tenor: History of a voice, John Potter 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 bass register: Giulio Caccini, Giuseppino Cenci, Giovanni Domenico Puliaschi and Francesco Rasi.[12] Rasi created the title role in Monteverdi's first opera, L'Orfeo (1607),[13] which in modern times has been sung by tenors such as Anthony Rolfe Johnson[14] as well as by lyric baritones, such as Simon Keenlyside.[15] Based on their descriptions in Vincenzo Giustiniani's Discorso sopra la musica (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.[16]
Tenor Jean de Reszke who originally trained as a baritone
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
Vocal pedagogues such as Richard Miller use the term to refer to a common voice category in young male singers whose tessitura (most comfortable vocal range) lies between that of a baritone and that of a tenor and whose passage zone lies between C4 and F4.[21] Such singers can evolve, either naturally or through training, into high baritones, suitable for operatic roles such as Pelléas in Pelléas et Mélisande. Alternatively, they may evolve into spieltenors, suitable for character roles such as Pedrillo in The Abduction from the Seraglio or into heldentenors who sing leading roles such as Siegmund in Die Walküre or Florestan in Fidelio.[22] 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 heldentenor repertory originally began their careers as baritones, including Jean de Reszke,[23]Giovanni Zenatello,[24]Renato Zanelli,[25]Lauritz Melchior,[26]Erik Schmedes,[27] and Plácido Domingo.[28] Towards the end of his career, Domingo returned to the baritone repertoire when he sang the title role in Simon Boccanegra.[29] Self-described as "a bastard bari-tenor",[30]Walter Slezak (the son of operatic tenor Leo Slezak) was primarily a stage and film actor, but he also sang tenor roles in musicals and operettas, and appeared at the Metropolitan Opera in 1959 as Zsupán in The Gypsy Baron. In popular music, singer Josh Groban is generally recognized as a baritenor,[31] and he describes himself as "a baritone with some high notes up [his] sleeve".[32][33]
In musical theatre
Noël Coward, whose singing voice has been described as "a distinctive baritenor" [34]
Despite being described in Acting the Song: Performance Skills for the Musical Theatre as a term "coined" by "musical theatre vernacular",[35] the use of baritenor in relation to the operatic voice can be seen in English sources since at least 1835, and French ones since 1829.[36] Nevertheless, the term is widely used in musical theatre to describe a baritone voice capable of singing notes in the tenor range, and was used as early as 1950 to describe the voice of Eddie Fisher in a variety show at New York's Paramount Theatre.[37] Deer and Dal Vera have noted that by 2008, the majority of leading roles in rock musicals were being written for baritenors.[38] Amongst the roles specifying baritenor voices in casting calls between 2008 and 2010 were: Tom Collins (Rent),[39]Bob and Tommy (Jersey Boys);[40] Wizard, Cowardly Lion, Scarecrow, and Tinman (The Wiz);[41] Max Bialystock and Leopold Bloom (The Producers);[42] and Thomas Weaver and Alvin Kelby (The Story of My Life).[43]
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)
^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)
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. ISBN0-634-04738-8
Casaglia, Gherardo (2005). "Annibale Pio Fabri". L'Almanacco di Gherardo Casaglia (in Italian).
Celletti, Rodolfo, Voce di tenore, IdeaLibri, 1989. ISBN88-7082-127-7
Celletti, Rodolfo, A History of Bel Canto (translated from the Italian by Frederick Fuller), Oxford University Press, 1996. ISBN0-19-816641-9
Deer, Joe and Dal Vera, Rocco, Acting in Musical Theatre: A Comprehensive Course, Routledge, 2008. ISBN0-415-77318-0
Dorsi, Fabrizio and Rausa, Giuseppe, Storia dell'opera italiana. Paravia Bruno Mondadori, 2000. ISBN88-424-9408-9
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, , 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. ISBN0-8283-2183-3
Heriot, Angus, The Castrati in Opera, Calder and Boyars, 1976. ISBN0-7145-0153-0
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 facsimile by Kessinger Publishing, 2005. ISBN1-4179-0200-0
Kaufman, Tom, , Marston Records, 1998. Accessed 3 March 2009.
Ludden, William, Pronouncing Musical Dictionary of Technical Words, Phrases and Abbreviations, O. Ditson, 1875.
Maupin, Elizabeth, , Orlando Sentinel, 3 March 2009. Accessed 4 March 2009.
Rosenthal, H. and Warrack, J., The Concise Oxford Dictionary of Opera, second edition, Oxford University Press, 1979. ISBN0-19-311321-X
Moore, Tracey and Bergman, Allison, Acting the Song: Performance Skills for the Musical Theatre, Allworth Communications, 2008. ISBN1-58115-505-0
Salzman, Eric and Dési, Thomas, The New Music Theater: Seeing the Voice, Hearing the Body, Oxford University Press US, 2008. ISBN0-19-509936-2
Schuberth, Julius, Kleines musikalisches Conversations-lexikon, originally published in 1880, republished in facsimile by Elimont Classics, 2001. ISBN0-543-90670-1
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.
Whenham, John, Claudio Monteverdi: Orfeo, Cambridge University Press, 1986. ISBN0-521-28477-5
Wistrich, Richard, Warrior, courtier, singer: Giulio Cesare Brancaccio and the performance of identity in the late Renaissance, Ashgate Publishing, Ltd., 2007. ISBN0-7546-5414-1
Young, David, How to Direct a Musical: Broadway your Way!, Taylor & Francis, 1995. ISBN0-87830-052-X
External links
(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.)
May 04, 2023
baritenor, also, rendered, english, language, sources, bari, tenor, baritenore, portmanteau, blend, words, baritone, tenor, used, describe, both, baritone, tenor, voices, webster, third, international, dictionary, defined, baritone, singing, voice, with, virtu. Baritenor also rendered in English language sources as bari tenor 1 or baritenore 2 is a portmanteau blend of the words baritone and tenor 3 It is used to describe both baritone and tenor voices In Webster s Third New International Dictionary it is defined as a baritone singing voice with virtually a tenor range 4 However the term was defined in several late 19th century and early 20th century music dictionaries such as The American History and Encyclopedia of Music as a low tenor voice almost barytone sic 5 Contents 1 In opera 2 In vocal pedagogy 3 In musical theatre 4 Notes 5 References 6 External linksIn opera Edit Baritenor Andrea Nozzari as Poliflegante in Mayr s Il sogno di Partenope Baritenor or its Italian form baritenore is still used today to describe a type of tenor voice which came to particular prominence in Rossini s operas 6 It is characterized by a dark weighty lower octave and a ringing upper one but with sufficient agility for coloratura singing 7 Rossini used this type of voice to portray noble and usually older leading characters often in contrast to the higher lighter voices of the tenore di grazia or the tenore contraltino who portrayed the young impetuous lovers 8 An example of this contrast can be found in his Otello 1816 where the role of Otello was written for a baritenore Andrea Nozzari while the role of Rodrigo his young rival for the affections of Desdemona was written for a tenore di grazia Giovanni David Nozzari and David were paired again in Rossini s Ricciardo e Zoraide 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 Gaetano Crivelli Nicola Tacchinardi Manuel Garcia Sr and Domenico Donzelli 9 Italian musicologist Rodolfo Celletti proposed that the Rossinian baritenor was nothing new to opera According to Celletti the tenor voices used for leading roles in early baroque operas such as Jacopo Peri s Euridice 1600 and Claudio Monteverdi s Il ritorno d Ulisse in patria 1640 were essentially baritenor ones with a range common to both the baritone and tenor voices of today 10 Much the same position was also adopted in 2000 by Fabrizio Dorsi in his history of Italian opera 11 In his 2009 book Tenor History of a voice John Potter 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 bass register Giulio Caccini Giuseppino Cenci Giovanni Domenico Puliaschi and Francesco Rasi 12 Rasi created the title role in Monteverdi s first opera L Orfeo 1607 13 which in modern times has been sung by tenors such as Anthony Rolfe Johnson 14 as well as by lyric baritones such as Simon Keenlyside 15 Based on their descriptions in Vincenzo Giustiniani s Discorso sopra la musica 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 16 Tenor Jean de Reszke who originally trained as a baritone 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 tenor 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 EditVocal pedagogues such as Richard Miller use the term to refer to a common voice category in young male singers whose tessitura most comfortable vocal range lies between that of a baritone and that of a tenor and whose passage zone lies between C4 and F4 21 Such singers can evolve either naturally or through training into high baritones suitable for operatic roles such as Pelleas in Pelleas et Melisande Alternatively they may evolve into spieltenors suitable for character roles such as Pedrillo in The Abduction from the Seraglio or into heldentenors who sing leading roles such as Siegmund in Die Walkure or Florestan in Fidelio 22 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 heldentenor repertory originally began their careers as baritones including Jean de Reszke 23 Giovanni Zenatello 24 Renato Zanelli 25 Lauritz Melchior 26 Erik Schmedes 27 and Placido Domingo 28 Towards the end of his career Domingo returned to the baritone repertoire when he sang the title role in Simon Boccanegra 29 Self described as a bastard bari tenor 30 Walter Slezak the son of operatic tenor Leo Slezak was primarily a stage and film actor but he also sang tenor roles in musicals and operettas and appeared at the Metropolitan Opera in 1959 as Zsupan in The Gypsy Baron In popular music singer Josh Groban is generally recognized as a baritenor 31 and he describes himself as a baritone with some high notes up his sleeve 32 33 In musical theatre Edit Noel Coward whose singing voice has been described as a distinctive baritenor 34 Despite being described in Acting the Song Performance Skills for the Musical Theatre as a term coined by musical theatre vernacular 35 the use of baritenor in relation to the operatic voice can be seen in English sources since at least 1835 and French ones since 1829 36 Nevertheless the term is widely used in musical theatre to describe a baritone voice capable of singing notes in the tenor range and was used as early as 1950 to describe the voice of Eddie Fisher in a variety show at New York s Paramount Theatre 37 Deer and Dal Vera have noted that by 2008 the majority of leading roles in rock musicals were being written for baritenors 38 Amongst the roles specifying baritenor voices in casting calls between 2008 and 2010 were Tom Collins Rent 39 Bob and Tommy Jersey Boys 40 Wizard Cowardly Lion Scarecrow and Tinman The Wiz 41 Max Bialystock and Leopold Bloom The Producers 42 and Thomas Weaver and Alvin Kelby The Story of My Life 43 Saltzman and Desi 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 Edit 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 Fetis 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 Desi 2008 p 22 Young 1995 p 6References Editactorsingers org Character Analysis The Producers January 2009 Accessed 4 March 2009 Badenes Gonzalo Voces Ritmo 1987 2000 Universitat de Valencia 2005 ISBN 84 370 6255 1 Billboard Vaudeville Reviews Vol 62 No 34 26 August 1950 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 amp 15 1 March 2010 Accessed 27 August 2010 Fetis 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 facsimile by Kessinger Publishing 2005 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 Miller Richard Securing Baritone Bass Baritone and Bass Voices Oxford University Press US 2008 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 New Grove Dictionary of Opera edited by Stanley Sadie 1992 ISBN 0 333 73432 7 and ISBN 1 56159 228 5 New York Theatre Guide The Story of My Life new musical by Bartram amp Hill aims to bow on Broadway in Jan 2009 8 April 2008 Accessed 4 March 2009 Playbill The Wiz Equity Principal Auditions March 2009 Accessed 4 March 2009 Potter J Tenor History of a voice Yale University Press New Haven CT London ISBN 978 0 300 11873 5 Rosenthal H and Warrack J The Concise Oxford Dictionary of Opera second edition Oxford University Press 1979 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 Salzman Eric and Desi Thomas The New Music Theater Seeing the Voice Hearing the Body Oxford University Press US 2008 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 Cyclopaedia 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 amp 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 amp 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 amp Francis 1995 ISBN 0 87830 052 XExternal links Edit 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 Opera Italien in Paris Retrieved from https en wikipedia org w index php title Baritenor amp oldid 1144637230, wikipedia, wiki, book, books, library,
