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Countertenor

A countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G3 to D5 or E5,[1] although a sopranist (a specific kind of countertenor) may match the soprano's range of around C4 to C6.[2] Countertenors often have tenor or baritone chest voices, but sing in falsetto or head voice much more often than they do in their chest voice.

The nature of the countertenor voice has radically changed throughout musical history, from a modal voice, to a modal and falsetto voice, to the primarily falsetto voice which is denoted by the term today. This is partly because of changes in human physiology (increase in body height) and partly because of fluctuations in pitch.[3]

The term first came into use in England during the mid-17th century and was in wide use by the late 17th century. However, the use of adult male falsettos in polyphony, commonly in the soprano range, was known in European all-male sacred choirs for some decades previous, as early as the mid-16th century.[4] Modern-day ensembles such as the Tallis Scholars and the Sixteen have countertenors on alto parts in works of this period. There is no evidence that falsetto singing was known in Britain before the early 17th century, when it was occasionally heard on soprano parts.[5]

In the second half of the 20th century, there was great interest in and renewed popularity of the countertenor voice, partly due to pioneers such as Alfred Deller, as well as the increased popularity of Baroque opera and the need of male singers to replace the castrati roles in such works. Although the voice has been considered largely an early music phenomenon, there is a growing modern repertoire collection for countertenors, especially in contemporary music.[6][7]

History

Early centuries

In polyphonic compositions of the 14th and early 15th centuries, the contratenor was a voice part added to the basic two-part contrapuntal texture of discant (superius) and tenor (from the Latin tenere which means to hold, since this part "held" the music's melody, while the superius descanted upon it at a higher pitch). Though having approximately the same range as the tenor, it was generally of a much less melodic nature than either of these other two parts. With the introduction in about 1450 of four-part writing by composers such as Ockeghem and Obrecht, the contratenor split into contratenor altus and contratenor bassus, which were respectively above and below the tenor.[7] Later the term became obsolete: in Italy, contratenor altus became simply altus, in France, haute-contre, and in England, countertenor. Though originally these words were used to designate a vocal part, they are now used to describe singers of that part, whose vocal techniques may differ (see below).[6]

In the Catholic Church during the Renaissance, St Paul's admonition "mulieres in ecclesiis taceant" ("let the women keep silence in the churches")[8] still prevailed, and women were banned from singing in church services. Countertenors, though rarely described as such, therefore found a prominent part in liturgical music, whether singing a line alone or with boy trebles or altos. (Spain had a long tradition of male falsettists singing soprano lines). However, countertenors were hardly ever used for roles in early opera,[9] the rise of which coincided with the arrival of a fashion for castrati. For example, the latter took several roles in the first performance of Monteverdi's L'Orfeo (1607). Castrati were already prominent by this date in Italian church choirs, replacing both falsettists and trebles; the last soprano falsettist singing in Rome, Juan [Johannes de] San[c]tos (a Spaniard), died in 1652.[10] In Italian opera, by the late seventeenth century castrati predominated, while in France, the modal high tenor, called the haute-contre,[11] was established as the voice of choice for leading male roles.

In England Purcell wrote significant music for a higher male voice that he called a "counter-tenor", for example, the roles of Secrecy and Summer in The Fairy-Queen (1692). "These lines have often challenged modern singers, who have been unsure whether they are high tenor parts or are meant for falsettists".[12] Contemporary vocal treatises, however, make clear that Purcell's singers would have been trained to blend both methods of vocal production.[13] In Purcell's choral music the situation is further complicated by the occasional appearance of more than one solo part designated "countertenor", but with a considerable difference in range and tessitura. Such is the case in Hail, bright Cecilia (The Ode on St Cecilia's Day 1692) in which the solo, "'Tis Nature's Voice", has the range F3 to B4 (similar to those stage roles cited previously), whereas, in the duet, "Hark each tree", the countertenor soloist sings from E4 to D5 (in the trio "With that sublime celestial lay". Later in the same work, Purcell's own manuscript designates the same singer, Mr Howel, described as "a High Contra tenor" to perform in the range G3 to C4; it is very likely that he took some of the lowest notes in a well-blended "chest voice" – see below).

18th century

"The Purcell counter-tenor 'tenor' did not flourish in England much beyond the early years of the [eighteenth] century; within twenty years of Purcell's death Handel had settled in London and opera seria, which was underpinned entirely by Italian singing, soon became entrenched in British theatres".[12] In parallel, by Handel's time, castrati had come to dominate the English operatic stage as much as that of Italy (and indeed most of Europe outside France). They also took part in several of Handel's oratorios, though countertenors, too, occasionally featured as soloists in the latter, the parts written for them being closer in compass to the higher ones of Purcell, with a usual range of A3 to E5.[7] They also sang the alto parts in Handel's choruses. It was as choral singers within the Anglican church tradition (as well as in the secular genre of the glee) that countertenors survived as performers throughout the 18th and 19th centuries. Otherwise they largely faded from public notice.[6]

20th century

The most visible person of the countertenor revival in the twentieth century was Alfred Deller, an English singer and champion of authentic early music performance. Deller initially identified as an "alto", but his collaborator Michael Tippett recommended the archaic term "countertenor" to describe his voice.[7] In the 1950s and 60s, his group, the Deller Consort, was important in increasing audiences' awareness (and appreciation) of Renaissance and Baroque music. Deller was the first modern countertenor to achieve fame and has had many prominent successors. Benjamin Britten wrote the leading role of Oberon in his setting of A Midsummer Night's Dream (1960) especially for Deller. The countertenor role of Apollo in Britten's Death in Venice (1973) was created by James Bowman, the best-known amongst the next generation of English countertenors. Russell Oberlin was Deller's American counterpart and another early music pioneer. Oberlin's success was entirely unprecedented in a country that did not have much experience of performance of works prior to Bach, and it paved the way for the great success of countertenors following him.[14] Oberlin, however, harked back to the earlier tradition of countertenors using only their modal voices.[15]

Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati (castrated males) are now sung and recorded by countertenors, as are some trouser roles originally written for female singers. The former category is much more numerous and includes Orfeo in Gluck's Orfeo ed Euridice and many Handel roles, such as the name parts in Rinaldo, Giulio Cesare, Serse and Orlando, and Bertarido in Rodelinda.[6] Mozart also had castrati roles in his operas, including Aminta in Il re pastore, Cecilio in Lucio Silla, Ramiro in La finta giardiniera, Idamante in Idomeneo, and Sesto in La clemenza di Tito.

Many modern composers other than Britten have written, and continue to write, countertenor parts, both in choral works and opera, as well as songs and song-cycles for the voice. Men's choral groups such as Chanticleer and The King's Singers employ the voice to great effect in a variety of genres, including early music, gospel, and even folk songs. Other recent operatic parts written for the countertenor voice include Edgar in Aribert Reimann's Lear (1978), the messenger in his Medea (2010), Prince Go-Go in György Ligeti's Le Grand Macabre (1978), the title role in Philip Glass's Akhnaten (1983), Claire in John Lunn's The Maids (1998), the Refugee in Jonathan Dove's Flight (1998), Trinculo in Thomas Adès's The Tempest (2004), the Boy in George Benjamin's Written on Skin (2012) and several others (see Roles in opera below).

Vocal range

 
Countertenor vocal range (E3–E5) notated on the treble staff (left) and on piano keyboard in green with dot marking middle C (C4)
 

The vocal range of a countertenor is equivalent to that of the female contralto or mezzo-soprano voice types. A trained countertenor will typically have a vocal centre similar in placement to that of a contralto or mezzo-soprano.[16] Peter Giles, a professional countertenor and noted author on the subject, defines the countertenor as a musical part rather than as a vocal style or mechanism. In modern usage, the term "countertenor" is essentially equivalent to the medieval term contratenor altus (see above). In this way, a countertenor singer can be operationally defined as a man who sings the countertenor part, whatever vocal style or mechanism is employed.[14] The countertenor range is generally equivalent to an alto range, extending from approximately G3 to D5 or E5.[1] In comparison to female voices the male voice usually has an extended range towards the low notes, but the lowest parts of the range are usually not used. In actual practice, it is generally acknowledged that a majority of countertenors sing with a falsetto vocal production for at least the upper half of this range, although most use some form of "chest voice" (akin to the range of their speaking voice) for the lower notes. The most difficult challenge for such a singer is managing the lower middle range, for there are normally a few notes (around B3) that can be sung with either vocal mechanism, and the transition between registers must somehow be blended or smoothly managed.[14]

In response to the (in his view) pejorative connotation of the term falsetto, Giles refuses to use it, calling the upper register "head voice".[14] Many voice experts[who?] would disagree with this choice of terminology, reserving the designation "head voice" for the high damped register accompanied by a relatively low larynx that is typical of modern high operatic tenor voice production. The latter type of head voice is, in terms of the vocal cord vibration, actually more similar to "chest voice" than to falsetto, since it uses the same "speaking voice" production (referred to as "modal" by voice scientists), and this is reflected in the timbre.[16]

Terminology

Particularly in the British choral tradition, the terms "male soprano" and "male alto" serve to identify men who rely on falsetto vocal production, rather than the modal voice, to sing in the soprano or alto vocal range. Elsewhere, the terms have less universal currency. Some authorities do accept them as descriptive of male falsettists, although this view is subject to controversy;[17] they would reserve the term "countertenor" for men who, like Russell Oberlin, achieve a soprano range voice with little or no falsetto, equating it with haute-contre and the Italian tenor altino.[18] Adherents to this view maintain that a countertenor will have unusually short vocal cords[6] and consequently a higher speaking voice and lower range and tessitura than their falsettist counterparts, perhaps from D3 to D5. Operatic vocal classification, on the other hand, prefers the terms "countertenor" and "sopranist" to "male soprano" and "male alto", and some scholars consider the latter two terms inaccurate owing to physiological differences between male and female vocal production.[2]

Roles in opera and oratorio

Notable countertenor roles include:

See also

References

  1. ^ a b J. B. Steane, "Countertenor", in The New Grove Dictionary of Opera, I, p. 999.
  2. ^ a b A sopranist is a term used to describe a countertenor whose vocal range is so high it is equivalent to that of a soprano; however, this term is widely used falsely. McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN 978-1-56593-940-0.
  3. ^ Ravens 2014, pp. 38–44.
  4. ^ Ravens 2014, pp. 50–57.
  5. ^ Ravens 2014, pp. 71–89.
  6. ^ a b c d e Stark 2003
  7. ^ a b c d Giles 1982
  8. ^ 1 Corinthians 14:34
  9. ^ During the first half of the seventeenth century, some falsettist altos, such as Lorenzino Sances and Mario Savioni, occasionally appeared onstage, especially in Rome.
  10. ^ "SingerList". sophia.smith.edu. from the original on 26 March 2009.
  11. ^ the nature of the haute-contre voice has been the subject of much debate, but it is now generally accepted that haute-contres sang in what voice scientists term "modal", perhaps using falsetto or falsettone for their highest notes (cf. Lionel Sawkins, "Haute-contre", in Sadie 1997, vol. II, pp. 668–669, and Cyr 1977)
  12. ^ a b Potter, J. (2009), Tenor, History of a voice, Yale University Press, New Haven/London, p. 19 (included footnote 35). ISBN 978-0-300-11873-5
  13. ^ Ravens 2014, pp. 130–138.
  14. ^ a b c d Giles 2005
  15. ^ "Russell Oberlin explica o que é um contratenor". YouTube. from the original on 16 March 2016.
  16. ^ a b Appelman 1986
  17. ^ G. M. Ardran; David Wulstan (January 1967). "The Alto or Countertenor Voice". Music & Letters. 48 (1): 17–22. JSTOR 733148 agree with the view of Giles[incomplete short citation] noted below; others disagree strongly – see, for example, Neal Zaslaw (November 1974). "The enigma of the Haute-Contre". The Musical Times. 115 (1581): 939–941. doi:10.2307/958179. JSTOR 958179; Cyr, Mary (April 1977). "On Performing 18th-Century Haute-Contre Roles". The Musical Times. 118 (1610): 291–295. doi:10.2307/958048. JSTOR 958048, later reproduced in Cyr, M., Essays on the Performance of Baroque Music. Opera and Chamber Music in France and England, essay no. IX, Ashgate Variorum, Aldeshot (UK)/Burlington, Vermont (USA), 2008, ISBN 978-0-7546-5926-6; Simon Ravens (February 1998). "'A Sweet Shrill Voice': The Countertenor and Vocal Scoring in Tudor England". Early Music. 26 (1): 122–134. JSTOR 3128554.
  18. ^ Giles,[incomplete short citation] "liberal" in his use of the word countertenor, proposes this latter term for such voices
  19. ^ Questioned. According to Anthony Hicks it is a treble part which was originally performed by William Savage before his voice broke (Giustino, in Sadie 1997, vol. II, p. 440).
  20. ^ Questioned. According to Anthony Hicks the small soprano part of Childerico, which has no arias, was probably sung an octave lower by William Savage after his voice had just broken (Faramondo, in Sadie 1997, vol. II, p. 121).
  21. ^ Very dubious. According to Anthony Hicks the role was originally intended to be sung by contralto Maria Antonia Marchesini) [it], but on account of her illness it was taken at the premiere by an actor singing as a tenor, and was later always entrusted by Handel to female singers (cf. David Vickers, "Handel Saul. The Sixteen's magnificent new recording of Handel's Saul", Gramophone 15 August 2017 at the Wayback Machine"; Robert Hugill, CD Review – Handel's Saul, "Planet Hugill – A world of classical music 6 February 2015 at the Wayback Machine", 19 September 2012).
  22. ^ Role conceived for treble, soprano or high countertenor (Paul Griffiths, "Grand Macabre, Le", in Sadie 1997, vol. II, p. 511).
  23. ^ Role created by tenor David Knutson, but conceived for both tenor and countertenor (Andrew Clements, Lear, in Sadie 1997, vol. II, p. 1115).
  24. ^ Music by various baroque composers, including George Frideric Handel, Antonio Vivaldi, and Jean-Philippe Rameau (cf.: The Enchanted Island: The Music 23 January 2012 at the Wayback Machine, The Metropolitan Opera).

Sources

Further reading

  • Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing Company. ISBN 978-1-877761-64-5.
  • Hennen, Peter (1 February 2011). "Nature's Way: Vocal Production in Social Context". The Countertenor Voice.
  • Herr, Corinna (2013). Gesang gegen die 'Ordnung der Natur'? Kastraten und Falsettisten in der Musikgeschichte (2nd ed.). Baerenreiter Verlag. ISBN 978-3-761-82187-9.
  • Howell, Ian. "Countertenor Technique: An Introduction to Concepts". The Countertenor Voice (April 2011).
  • Howell, Ian. "Vocal Technique: The Flex". The Countertenor Voice (July 2011).
  • Howell, Ian. "Are We Post-Anglican Yet?". The Countertenor Voice (January 2011).
  • Mormile, Alessandro, Controtenori. La rinascita dei 'nuovi angeli' nella prassi esecutiva dell'opera barocca, Varese, Zecchini Editore, 2010, ISBN 9788865400005, p. 218
  • Smith, Brenda (2005). Choral Pedagogy. Plural Publishing, Inc. ISBN 978-1-59756-043-6.

External links

  •   Media related to Countertenor vocalists at Wikimedia Commons
  •   The dictionary definition of Countertenor at Wiktionary

countertenor, countertenor, also, contra, tenor, type, classical, male, singing, voice, whose, vocal, range, equivalent, that, female, contralto, mezzo, soprano, voice, types, generally, extending, from, around, although, sopranist, specific, kind, counterteno. A countertenor also contra tenor is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo soprano voice types generally extending from around G3 to D5 or E5 1 although a sopranist a specific kind of countertenor may match the soprano s range of around C4 to C6 2 Countertenors often have tenor or baritone chest voices but sing in falsetto or head voice much more often than they do in their chest voice The nature of the countertenor voice has radically changed throughout musical history from a modal voice to a modal and falsetto voice to the primarily falsetto voice which is denoted by the term today This is partly because of changes in human physiology increase in body height and partly because of fluctuations in pitch 3 The term first came into use in England during the mid 17th century and was in wide use by the late 17th century However the use of adult male falsettos in polyphony commonly in the soprano range was known in European all male sacred choirs for some decades previous as early as the mid 16th century 4 Modern day ensembles such as the Tallis Scholars and the Sixteen have countertenors on alto parts in works of this period There is no evidence that falsetto singing was known in Britain before the early 17th century when it was occasionally heard on soprano parts 5 In the second half of the 20th century there was great interest in and renewed popularity of the countertenor voice partly due to pioneers such as Alfred Deller as well as the increased popularity of Baroque opera and the need of male singers to replace the castrati roles in such works Although the voice has been considered largely an early music phenomenon there is a growing modern repertoire collection for countertenors especially in contemporary music 6 7 Contents 1 History 1 1 Early centuries 1 2 18th century 1 3 20th century 2 Vocal range 3 Terminology 4 Roles in opera and oratorio 5 See also 6 References 7 Further reading 8 External linksHistory EditEarly centuries Edit In polyphonic compositions of the 14th and early 15th centuries the contratenor was a voice part added to the basic two part contrapuntal texture of discant superius and tenor from the Latin tenere which means to hold since this part held the music s melody while the superius descanted upon it at a higher pitch Though having approximately the same range as the tenor it was generally of a much less melodic nature than either of these other two parts With the introduction in about 1450 of four part writing by composers such as Ockeghem and Obrecht the contratenor split into contratenor altus and contratenor bassus which were respectively above and below the tenor 7 Later the term became obsolete in Italy contratenor altus became simply altus in France haute contre and in England countertenor Though originally these words were used to designate a vocal part they are now used to describe singers of that part whose vocal techniques may differ see below 6 In the Catholic Church during the Renaissance St Paul s admonition mulieres in ecclesiis taceant let the women keep silence in the churches 8 still prevailed and women were banned from singing in church services Countertenors though rarely described as such therefore found a prominent part in liturgical music whether singing a line alone or with boy trebles or altos Spain had a long tradition of male falsettists singing soprano lines However countertenors were hardly ever used for roles in early opera 9 the rise of which coincided with the arrival of a fashion for castrati For example the latter took several roles in the first performance of Monteverdi s L Orfeo 1607 Castrati were already prominent by this date in Italian church choirs replacing both falsettists and trebles the last soprano falsettist singing in Rome Juan Johannes de San c tos a Spaniard died in 1652 10 In Italian opera by the late seventeenth century castrati predominated while in France the modal high tenor called the haute contre 11 was established as the voice of choice for leading male roles In England Purcell wrote significant music for a higher male voice that he called a counter tenor for example the roles of Secrecy and Summer in The Fairy Queen 1692 These lines have often challenged modern singers who have been unsure whether they are high tenor parts or are meant for falsettists 12 Contemporary vocal treatises however make clear that Purcell s singers would have been trained to blend both methods of vocal production 13 In Purcell s choral music the situation is further complicated by the occasional appearance of more than one solo part designated countertenor but with a considerable difference in range and tessitura Such is the case in Hail bright Cecilia The Ode on St Cecilia s Day 1692 in which the solo Tis Nature s Voice has the range F3 to B 4 similar to those stage roles cited previously whereas in the duet Hark each tree the countertenor soloist sings from E4 to D5 in the trio With that sublime celestial lay Later in the same work Purcell s own manuscript designates the same singer Mr Howel described as a High Contra tenor to perform in the range G3 to C4 it is very likely that he took some of the lowest notes in a well blended chest voice see below 18th century Edit The Purcell counter tenor tenor did not flourish in England much beyond the early years of the eighteenth century within twenty years of Purcell s death Handel had settled in London and opera seria which was underpinned entirely by Italian singing soon became entrenched in British theatres 12 In parallel by Handel s time castrati had come to dominate the English operatic stage as much as that of Italy and indeed most of Europe outside France They also took part in several of Handel s oratorios though countertenors too occasionally featured as soloists in the latter the parts written for them being closer in compass to the higher ones of Purcell with a usual range of A3 to E5 7 They also sang the alto parts in Handel s choruses It was as choral singers within the Anglican church tradition as well as in the secular genre of the glee that countertenors survived as performers throughout the 18th and 19th centuries Otherwise they largely faded from public notice 6 20th century Edit The most visible person of the countertenor revival in the twentieth century was Alfred Deller an English singer and champion of authentic early music performance Deller initially identified as an alto but his collaborator Michael Tippett recommended the archaic term countertenor to describe his voice 7 In the 1950s and 60s his group the Deller Consort was important in increasing audiences awareness and appreciation of Renaissance and Baroque music Deller was the first modern countertenor to achieve fame and has had many prominent successors Benjamin Britten wrote the leading role of Oberon in his setting of A Midsummer Night s Dream 1960 especially for Deller The countertenor role of Apollo in Britten s Death in Venice 1973 was created by James Bowman the best known amongst the next generation of English countertenors Russell Oberlin was Deller s American counterpart and another early music pioneer Oberlin s success was entirely unprecedented in a country that did not have much experience of performance of works prior to Bach and it paved the way for the great success of countertenors following him 14 Oberlin however harked back to the earlier tradition of countertenors using only their modal voices 15 Today countertenors are much in demand in many forms of classical music In opera many roles originally written for castrati castrated males are now sung and recorded by countertenors as are some trouser roles originally written for female singers The former category is much more numerous and includes Orfeo in Gluck s Orfeo ed Euridice and many Handel roles such as the name parts in Rinaldo Giulio Cesare Serse and Orlando and Bertarido in Rodelinda 6 Mozart also had castrati roles in his operas including Aminta in Il re pastore Cecilio in Lucio Silla Ramiro in La finta giardiniera Idamante in Idomeneo and Sesto in La clemenza di Tito Many modern composers other than Britten have written and continue to write countertenor parts both in choral works and opera as well as songs and song cycles for the voice Men s choral groups such as Chanticleer and The King s Singers employ the voice to great effect in a variety of genres including early music gospel and even folk songs Other recent operatic parts written for the countertenor voice include Edgar in Aribert Reimann s Lear 1978 the messenger in his Medea 2010 Prince Go Go in Gyorgy Ligeti s Le Grand Macabre 1978 the title role in Philip Glass s Akhnaten 1983 Claire in John Lunn s The Maids 1998 the Refugee in Jonathan Dove s Flight 1998 Trinculo in Thomas Ades s The Tempest 2004 the Boy in George Benjamin s Written on Skin 2012 and several others see Roles in opera below Vocal range Edit Countertenor vocal range E3 E5 notated on the treble staff left and on piano keyboard in green with dot marking middle C C4 The vocal range of a countertenor is equivalent to that of the female contralto or mezzo soprano voice types A trained countertenor will typically have a vocal centre similar in placement to that of a contralto or mezzo soprano 16 Peter Giles a professional countertenor and noted author on the subject defines the countertenor as a musical part rather than as a vocal style or mechanism In modern usage the term countertenor is essentially equivalent to the medieval term contratenor altus see above In this way a countertenor singer can be operationally defined as a man who sings the countertenor part whatever vocal style or mechanism is employed 14 The countertenor range is generally equivalent to an alto range extending from approximately G3 to D5 or E5 1 In comparison to female voices the male voice usually has an extended range towards the low notes but the lowest parts of the range are usually not used In actual practice it is generally acknowledged that a majority of countertenors sing with a falsetto vocal production for at least the upper half of this range although most use some form of chest voice akin to the range of their speaking voice for the lower notes The most difficult challenge for such a singer is managing the lower middle range for there are normally a few notes around B 3 that can be sung with either vocal mechanism and the transition between registers must somehow be blended or smoothly managed 14 In response to the in his view pejorative connotation of the term falsetto Giles refuses to use it calling the upper register head voice 14 Many voice experts who would disagree with this choice of terminology reserving the designation head voice for the high damped register accompanied by a relatively low larynx that is typical of modern high operatic tenor voice production The latter type of head voice is in terms of the vocal cord vibration actually more similar to chest voice than to falsetto since it uses the same speaking voice production referred to as modal by voice scientists and this is reflected in the timbre 16 Terminology EditParticularly in the British choral tradition the terms male soprano and male alto serve to identify men who rely on falsetto vocal production rather than the modal voice to sing in the soprano or alto vocal range Elsewhere the terms have less universal currency Some authorities do accept them as descriptive of male falsettists although this view is subject to controversy 17 they would reserve the term countertenor for men who like Russell Oberlin achieve a soprano range voice with little or no falsetto equating it with haute contre and the Italian tenor altino 18 Adherents to this view maintain that a countertenor will have unusually short vocal cords 6 and consequently a higher speaking voice and lower range and tessitura than their falsettist counterparts perhaps from D3 to D5 Operatic vocal classification on the other hand prefers the terms countertenor and sopranist to male soprano and male alto and some scholars consider the latter two terms inaccurate owing to physiological differences between male and female vocal production 2 Roles in opera and oratorio EditNotable countertenor roles include Adone La catena d Adone Domenico Mazzocchi Atlante Alceste Il palazzo incantato Luigi Rossi Joad Athalia Handel La Fortuna 19 Giustino Handel Childerico 20 Faramondo Handel David 21 Saul Handel Athamas Semele Handel Joseph Joseph and his Brethren Handel Hamor Jephtha Handel Oberon A Midsummer Night s Dream Britten David Chichester Psalms Bernstein Annas Jesus Christ Superstar Lloyd Webber Priest Taverner Davies Voice of Apollo Death in Venice Britten Death Ithuriel Raphael Paradise Lost Penderecki Prince Go Go 22 Le Grand Macabre Ligeti Edgar 23 Lear Reimann Akhnaten Akhnaten Glass Military Governor A Night at the Chinese Opera Weir Mephistophiles Historia von D Johann Fausten Schnittke Vera Loman Vera of Las Vegas Hagen The Refugee Flight Dove The Guest The voice behind the scene Luci mie traditrici Sciarrino Kreon Freispruch fur Medea Liebermann Franz Fritz Doctor Ox s Experiment Bryars Raphael Tobias and the Angel Dove Adschib the Wayward L Upupa und der Triumph der Sohnesliebe Henze Trinculo The Tempest Ades Artemis travesti role Phaedra Henze Fox Coachman The Adventures of Pinocchio Dove Herald Medea Reimann Prospero Ferdinand The Enchanted Island Pasticcio 24 First Angel Boy Written on Skin Benjamin Bishop Baldwin Gawain Birtwistle Orpheus The Second Mrs Kong Birtwistle Snake Priestess and 2 Innocents The Minotaur Birtwistle Odysseus Sirenen Riehm Terry Marnie Nico Muhly See also EditFach the German system for classifying voices Voice classification in non classical musicReferences Edit a b J B Steane Countertenor in The New Grove Dictionary of Opera I p 999 a b A sopranist is a term used to describe a countertenor whose vocal range is so high it is equivalent to that of a soprano however this term is widely used falsely McKinney James 1994 The Diagnosis and Correction of Vocal Faults Genovex Music Group ISBN 978 1 56593 940 0 Ravens 2014 pp 38 44 Ravens 2014 pp 50 57 Ravens 2014 pp 71 89 a b c d e Stark 2003 a b c d Giles 1982 1 Corinthians 14 34 During the first half of the seventeenth century some falsettist altos such as Lorenzino Sances and Mario Savioni occasionally appeared onstage especially in Rome SingerList sophia smith edu Archived from the original on 26 March 2009 the nature of the haute contre voice has been the subject of much debate but it is now generally accepted that haute contres sang in what voice scientists term modal perhaps using falsetto or falsettone for their highest notes cf Lionel Sawkins Haute contre in Sadie 1997 vol II pp 668 669 and Cyr 1977 a b Potter J 2009 Tenor History of a voice Yale University Press New Haven London p 19 included footnote 35 ISBN 978 0 300 11873 5 Ravens 2014 pp 130 138 a b c d Giles 2005 Russell Oberlin explica o que e um contratenor YouTube Archived from the original on 16 March 2016 a b Appelman 1986 G M Ardran David Wulstan January 1967 The Alto or Countertenor Voice Music amp Letters 48 1 17 22 JSTOR 733148 agree with the view of Giles incomplete short citation noted below others disagree strongly see for example Neal Zaslaw November 1974 The enigma of the Haute Contre The Musical Times 115 1581 939 941 doi 10 2307 958179 JSTOR 958179 Cyr Mary April 1977 On Performing 18th Century Haute Contre Roles The Musical Times 118 1610 291 295 doi 10 2307 958048 JSTOR 958048 later reproduced in Cyr M Essays on the Performance of Baroque Music Opera and Chamber Music in France and England essay no IX Ashgate Variorum Aldeshot UK Burlington Vermont USA 2008 ISBN 978 0 7546 5926 6 Simon Ravens February 1998 A Sweet Shrill Voice The Countertenor and Vocal Scoring in Tudor England Early Music 26 1 122 134 JSTOR 3128554 Giles incomplete short citation liberal in his use of the word countertenor proposes this latter term for such voices Questioned According to Anthony Hicks it is a treble part which was originally performed by William Savage before his voice broke Giustino in Sadie 1997 vol II p 440 Questioned According to Anthony Hicks the small soprano part of Childerico which has no arias was probably sung an octave lower by William Savage after his voice had just broken Faramondo in Sadie 1997 vol II p 121 Very dubious According to Anthony Hicks the role was originally intended to be sung by contralto Maria Antonia Marchesini it but on account of her illness it was taken at the premiere by an actor singing as a tenor and was later always entrusted by Handel to female singers cf David Vickers Handel Saul The Sixteen s magnificent new recording of Handel s Saul Gramophone Archived 15 August 2017 at the Wayback Machine Robert Hugill CD Review Handel s Saul Planet Hugill A world of classical music Archived 6 February 2015 at the Wayback Machine 19 September 2012 Role conceived for treble soprano or high countertenor Paul Griffiths Grand Macabre Le in Sadie 1997 vol II p 511 Role created by tenor David Knutson but conceived for both tenor and countertenor Andrew Clements Lear in Sadie 1997 vol II p 1115 Music by various baroque composers including George Frideric Handel Antonio Vivaldi and Jean Philippe Rameau cf The Enchanted Island The Music Archived 23 January 2012 at the Wayback Machine The Metropolitan Opera Sources Appelman D Ralph 1986 The Science of Vocal Pedagogy Theory and Application Indiana University Press ISBN 978 0 253 20378 6 Giles Peter 1982 The Countertenor Muller Publishing Giles Peter 2005 A Basic Countertenor Method London Kahn amp Averill ISBN 978 1 871082 82 1 Ravens Simon 2014 The Supernatural Voice A History of High Male Singing Woodbridge Boydell Press ISBN 9781843839620 OCLC 967385734 Sadie Stanley ed 1997 The New Grove Dictionary of Opera New York Oxford University Press ISBN 978 0 19 522186 2 Stark James 2003 Bel Canto A History of Vocal Pedagogy University of Toronto Press ISBN 978 0 8020 8614 3 Further reading EditBoldrey Richard 1994 Guide to Operatic Roles and Arias Caldwell Publishing Company ISBN 978 1 877761 64 5 Hennen Peter 1 February 2011 Nature s Way Vocal Production in Social Context The Countertenor Voice Herr Corinna 2013 Gesang gegen die Ordnung der Natur Kastraten und Falsettisten in der Musikgeschichte 2nd ed Baerenreiter Verlag ISBN 978 3 761 82187 9 Howell Ian Countertenor Technique An Introduction to Concepts The Countertenor Voice April 2011 Howell Ian Vocal Technique The Flex The Countertenor Voice July 2011 Howell Ian Are We Post Anglican Yet The Countertenor Voice January 2011 Mormile Alessandro Controtenori La rinascita dei nuovi angeli nella prassi esecutiva dell opera barocca Varese Zecchini Editore 2010 ISBN 9788865400005 p 218 Smith Brenda 2005 Choral Pedagogy Plural Publishing Inc ISBN 978 1 59756 043 6 External links Edit Media related to Countertenor vocalists at Wikimedia Commons The dictionary definition of Countertenor at Wiktionary Portal Opera Retrieved from https en wikipedia org w index php title Countertenor amp oldid 1148147221, wikipedia, wiki, book, books, library,

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