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Tenor

December 04, 2023

This article is about the male classical voice type. For this voice type in other music genres, see List of tenors in non-classical music. For other uses, see Tenor (disambiguation).

A tenor is a type of classical male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type.[1] Composers typically write music for this voice in the range from the second B below middle C to the G above middle C (i.e. B2 to G4) in choral music, and from the second B flat below middle C to the C above middle C (B♭2 to C5) in operatic music, but the range can extend at either end.[2][3] Subtypes of tenor include the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or spieltenor.

History edit

The name "tenor" derives from the Latin word tenere, which means "to hold". As noted in the "Tenor" article at Grove Music Online:

In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts.[4]

All other voices were normally calculated in relation to the tenor, which often proceeded in longer note values and carried a borrowed Cantus firmus melody. Until the late 16th-century introduction of the contratenor singers, the tenor was usually the lowest voice, assuming the role of providing a foundation. It was also in the 18th century that "tenor" came to signify the male voice that sang such parts. Thus, for earlier repertoire, a line marked 'tenor' indicated the part's role, and not the required voice type; indeed, even as late as the eighteenth century, partbooks labelled 'tenor' might contain parts for a range of voice types.[5][page needed]

Vocal range edit

 
Tenor vocal range (C3–G/A5) notated on the treble staff (left) and on piano keyboard in green with dot marking middle C (C4). The numeral eight below the treble clef indicates that the pitches sound an octave lower than written: see Clef#Octave clefs. This is the standard clef for tenor parts in scores.
 

The vocal range of the tenor is the highest of the male voice types. Within opera, the lowest note in the standard tenor repertoire is widely defined to be B♭2. However, the role of Rodrigo di Dhu (written for Andrea Nozzari) in Rossini's rarely performed La donna del lago is defined as a tenor but requires an A♭2.[citation needed] Within more frequently performed repertoire, Mime and Herod both call for an A2.[citation needed] A few tenor roles in the standard repertoire call for a "tenor C" (C5, one octave above middle C). Some, if not all, of the few top Cs in the standard operatic repertoire are either optional—such as in "Che gelida manina" in Puccini's La bohème—or interpolated (added) by tradition, such as in "Di quella pira" from Verdi's Il trovatore); however, the highest demanded note in the standard tenor operatic repertoire is D5, found in "Mes amis, écoutez l'histoire"[6] from Adolphe Adam's Le postillon de Lonjumeau and "Loin de son amie"[7] from Fromental Halévy's La Juive). In the leggero repertoire, the highest note is F5 (Arturo in "Credeasi, misera" from Bellini's I puritani),[8][non-primary source needed][9] therefore, very few tenors have this role in their repertoire without transposition (given the raising of concert pitch since its composition),[10] or resorting to falsetto.

In choral music edit

In SATB four-part mixed chorus, the tenor is the second lowest vocal range, above the bass and below the alto and soprano. Men's chorus usually denotes an ensemble of TTBB in which the first tenor is the highest voice. Whilst certain choral music does require the first tenors to ascend the full tenor range, the majority of choral music places the tenors in the range from approximately B2 up to A4. The requirements of the tenor voice in choral music are also tied to the style of music most often performed by a given choir. Orchestral choruses typically call for tenors with fully resonant voices, but chamber or a cappella choral music (choral music sung with no instrumental accompaniment) can rely on baritones singing in falsetto.[11]

Even so, one nearly ubiquitous facet of choral singing is the shortage of tenor voices.[12][13] Most men 18 and older tend to have baritone chest voices, and because of this, many men in choirs tend to prefer singing in the bass section (though true basses are even rarer than tenors). Many baritones sing tenor even if they are not able to cover the full range in only their chest voice, and sometimes contraltos sing the tenor part.[11] In men's choruses that consist of four male vocal parts (TTBB; tenor 1, tenor 2, bass 1, bass 2), tenors will often sing both in chest voice and falsetto, extending the vocal range of the choir.

Subtypes and roles in opera edit

Within the tenor voice type category are seven generally recognized subcategories: leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, and tenor buffo or spieltenor. There is considerable overlap between the various categories of role and of voice-type; some tenor singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors.

Leggero edit

Also known as the tenore di grazia, the leggero tenor is essentially the male equivalent of a lyric coloratura. This voice is light, agile, and capable of executing difficult passages of fioritura. The typical leggero tenor possesses a range spanning from approximately C3 to E5, with a few being able to sing up to F5 or higher in full voice. In some cases, the chest register of the leggero tenor may extend below C3. Voices of this type are utilized frequently in the operas of Rossini, Donizetti, Bellini and in music dating from the Baroque period.[citation needed]

Leggero tenor roles in operas:[10]

Lyric edit

The lyric tenor is a warm graceful voice with a bright, full timbre that is strong but not heavy and can be heard over an orchestra. Lyric tenors have a range from approximately the C one octave below middle C (C3) to the D one octave above middle C (D5). Similarly, their lower range may extend a few notes below the C3. There are many vocal shades to the lyric tenor group, repertoire should be selected according to the weight, colors, and abilities of the voice.

Gilbert Duprez (1806–1896) was a historically significant lyric tenor. He was the first tenor to sing on stage the operatic high C from the chest (ut de poitrine) as opposed to using falsettone. He is also known for originating the role of Edgardo in Lucia di Lammermoor.

Lyric tenor roles in operas:[10]

Spinto edit

The spinto tenor has the brightness and height of a lyric tenor, but with a heavier vocal weight enabling the voice to be "pushed" to dramatic climaxes with less strain than the lighter-voice counterparts. Spinto tenors have a darker timbre than a lyric tenor, without having a vocal color as dark as many (not all) dramatic tenors. The German equivalent of the Spinto Fach is the Jugendlicher Heldentenor and encompasses many of the Dramatic tenor roles as well as some Wagner roles such as Lohengrin and Stolzing. The difference is often the depth and metal in the voice where some lyric tenors age or push their way into singing as a Spinto giving them a lighter tone and a Jugendlicher Heldentenor tends to be either a young heldentenor or true lyric spinto. Spinto tenors have a range from approximately the C one octave below middle C (C3) to the C one octave above middle C (C5).

Spinto tenor roles in operas:[10]

Dramatic edit

Also "tenore robusto", the dramatic tenor has an emotive, ringing and very powerful, clarion, heroic tenor sound. The dramatic tenor's approximate range is from the B one octave below middle C (B2) to the B one octave above middle C (B4) with some able to sing up to the C one octave above middle C (C5).[10] Many successful dramatic tenors though have historically avoided the coveted high C in performance. Their lower range tends to extend into the baritone tessitura or, a few notes below the C3, even down to A♭2. Some dramatic tenors have a rich and dark tonal colour to their voice (such as the mature Enrico Caruso) while others (like Francesco Tamagno) possess a bright, steely timbre.

Dramatic tenor roles in operas:[10][page needed]

Heldentenor edit

Main article: Heldentenor

The heldentenor (English: heroic tenor) has a rich, dark, powerful and dramatic voice. As its name implies, the heldentenor vocal Fach features in the German romantic operatic repertoire. The heldentenor is the German equivalent of the tenore drammatico, however with a more baritonal quality: the typical Wagnerian protagonist. The keystone of the heldentenor's repertoire is arguably Wagner's Siegfried, an extremely demanding role requiring a wide vocal range and great power, plus tremendous stamina and acting ability. Often the heldentenor is a baritone who has transitioned to this Fach or tenors who have been misidentified as baritones. Therefore, the heldentenor voice might or might not have facility up to high B or C. The repertoire, however, rarely calls for such high notes.

Heldentenor roles in operas:[10]

Mozart edit

A Mozart tenor is yet another distinct tenor type. In Mozart singing, the most important element is the instrumental approach of the vocal sound which implies: flawless and slender emission of sound, perfect intonation, legato, diction and phrasing, capability to cope with the dynamic requirements of the score, beauty of timbre, secure line of singing through perfect support and absolute breath control, musical intelligence, body discipline, elegance, nobility, agility and, most importantly, ability for dramatic expressiveness within the narrow borders imposed by the strict Mozartian style.

The German Mozart tenor tradition goes back to the end of the 1920s, when Mozart tenors started making use of Caruso's technique (a tenor who rarely sang Mozart) to achieve and improve the required dynamics and dramatic expressiveness.

Mozart tenor roles in operas:[10]

Tenor buffo or spieltenor edit

A Tenor buffo or spieltenor is a tenor with good acting ability, and the ability to create distinct voices for his characters. This voice specializes in smaller comic roles. The range of the tenor buffo is from the C one octave below middle C (C3) to the C one octave above middle C (C5).[15] The tessitura of these parts ranges from lower than other tenor roles to very high and broad. These parts are often played by younger tenors who have not yet reached their full vocal potential or older tenors who are beyond their prime singing years. Only rarely will a singer specialize in these roles for an entire career.[10] In French opéra comique, supporting roles requiring a thin voice but good acting are sometimes described as 'trial', after the singer Antoine Trial (1737–1795), examples being in the operas of Ravel and in The Tales of Hoffmann.[16][page needed]

Tenor buffo or spieltenor roles in operas:[10][page needed]

Gilbert and Sullivan and operetta edit

All of Gilbert and Sullivan's Savoy operas have at least one lead lyric tenor character. Notable operetta roles are:

Other uses edit

There are four parts in barbershop harmony: bass, baritone, lead, and tenor (lowest to highest), with "tenor" referring to the highest part. The tenor generally sings in falsetto voice, corresponding roughly to the countertenor in classical music, and harmonizes above the lead, who sings the melody. The barbershop tenor range is Middle C to A one octave above Middle C, though it is written an octave lower. The "lead" in barbershop music is equivalent to the normal tenor range.[17][page needed]

In bluegrass music, the melody line is called the lead. Tenor is sung an interval of a third above the lead. Baritone is the fifth of the scale that has the lead as a tonic, and may be sung below the lead, or even above the lead (and the tenor), in which case it is called "high baritone".[18][page needed]

See also edit

References edit

  1. ^ Roland Jackson (23 October 2013). Performance Practice: A Dictionary-Guide for Musicians. Routledge. p. 458. ISBN 9781136767708.
  2. ^ "Vocal Ranges | Yale University Library". web.library.yale.edu. Retrieved 18 August 2021.
  3. ^ "Tenor | vocal range". Encyclopedia Britannica. Retrieved 18 August 2021.
  4. ^ Fallows, David; Jander, Owen; Forbes, Elizabeth; Steane, J. B.; Harris, Ellen T.; and Waldman, Gerald (2001). "Tenor" (subscription required). Grove Music Online.
  5. ^ Stark, James (2003). Bel Canto: A History of Vocal Pedagogy. Toronto, CAN: University of Toronto Press. ISBN 9780802086143.
  6. ^ Eriksson, Erik. Adolphe Adam – Le postillon de lonjumeau at AllMusic. Retrieved 27 July 2014.
  7. ^ Glaubitz, Robert (2010). "Loin de son amie—No. 3, Sérénade from Act I of the French opera La Juive by Jacques François Fromental Halévy". Aria-Database.com. from the original on 17 April 2017. Retrieved 16 April 2017.
  8. ^ IMSLP Staff [Guo, Edward W. et al.] (2017). "Bellini – I puritani (vocal score)" (PDF). IMSLP.org. Wilmington, DE: International Music Score Library Project (IMSLP)/Petrucci Music Library (Project Petrucci LLC). pp. 254, 256.
  9. ^ Calico, Joy. "Romantic and Modern Music Literature (MUSL 244)" (PDF). p. 7.
  10. ^ a b c d e f g h i j Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing. ISBN 9781877761645.[page needed]
  11. ^ a b Smith, Brenda (2005). Choral Pedagogy. Plural Publishing, Inc. ISBN 9781597560436.[page needed]
  12. ^ Calleja, Joseph; Amon, Ruben (4 November 2004). . OperaActual.com. Translated by Sergio Maclean. Archived from the original on 26 August 2009. Retrieved 2 May 2013 – via FriendsofJosephCalleja.com.
  13. ^ Sell, Karen (2005). The Disciplines of Vocal Pedagogy. Ashgate Publishing. p. 45. ISBN 9780754651697. from the original on 24 March 2017. Retrieved 2 May 2013.[page needed]
  14. ^ Glaubitz, Robert (2010). "The Tender Land, Composer: Aaron Copland, Librettist: Horner Everett". Aria-Database.com. from the original on 5 September 2017. Retrieved 16 April 2017.
  15. ^ Suverkrop, Bard; Draayer, Suzanne (2017). "Tenor Aria". IPASource.com. Retrieved 16 April 2017.
  16. ^ Cotte, R.J.V. (1997). "Trial, French Family of Musicians". The New Grove Dictionary of Opera. London, New York: Macmillan. from the original on 9 March 2017. Retrieved 16 April 2017.
  17. ^ Averill, Gage (2003). Four Parts, No Waiting: A Social History of American Barbershop Harmony. Oxford, ENG: Oxford University Press. ISBN 9780195116724.
  18. ^ Cantwell, Robert (2002). Bluegrass Breakdown: The Making of the Old Southern Sound. Urbana, IL: University of Illinois Press. ISBN 9780252071171.

External links edit

  •   Media related to Tenors at Wikimedia Commons
  •   The dictionary definition of Tenor at Wiktionary

December 04, 2023
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This article is about the male classical voice type For this voice type in other music genres see List of tenors in non classical music For other uses see Tenor disambiguation This article has multiple issues Please help improve it or discuss these issues on the talk page Learn how and when to remove these template messages This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Tenor news newspapers books scholar JSTOR April 2017 Learn how and when to remove this template message This article may need to be rewritten to comply with Wikipedia s quality standards as it contains possible original research and possible copyright infringements hampering reliability Additionally it lacks references and page numbers on references and it is written like a biased editorial which disrupts verifiability and neutral point of view You can help The talk page may contain suggestions July 2017 Learn how and when to remove this template message A tenor is a type of classical male singing voice whose vocal range lies between the countertenor and baritone voice types It is the highest male chest voice type 1 Composers typically write music for this voice in the range from the second B below middle C to the G above middle C i e B2 to G4 in choral music and from the second B flat below middle C to the C above middle C B 2 to C5 in operatic music but the range can extend at either end 2 3 Subtypes of tenor include the leggero tenor lyric tenor spinto tenor dramatic tenor heldentenor and tenor buffo or spieltenor Contents 1 History 2 Vocal range 3 In choral music 4 Subtypes and roles in opera 4 1 Leggero 4 2 Lyric 4 3 Spinto 4 4 Dramatic 4 5 Heldentenor 4 6 Mozart 4 7 Tenor buffo or spieltenor 4 8 Gilbert and Sullivan and operetta 5 Other uses 6 See also 7 References 8 External linksHistory editThis section appears to contradict itself on the point in time century the 15th Grove versus 18th unreferenced that tenor came to signify the male voice that sang the holding voice Please see the talk page for more information April 2017 The name tenor derives from the Latin word tenere which means to hold As noted in the Tenor article at Grove Music Online In polyphony between about 1250 and 1500 the tenor was the structurally fundamental or holding voice vocal or instrumental by the 15th century it came to signify the male voice that sang such parts 4 All other voices were normally calculated in relation to the tenor which often proceeded in longer note values and carried a borrowed Cantus firmus melody Until the late 16th century introduction of the contratenor singers the tenor was usually the lowest voice assuming the role of providing a foundation It was also in the 18th century that tenor came to signify the male voice that sang such parts Thus for earlier repertoire a line marked tenor indicated the part s role and not the required voice type indeed even as late as the eighteenth century partbooks labelled tenor might contain parts for a range of voice types 5 page needed Vocal range edit nbsp Tenor vocal range C3 G A5 notated on the treble staff left and on piano keyboard in green with dot marking middle C C4 The numeral eight below the treble clef indicates that the pitches sound an octave lower than written see Clef Octave clefs This is the standard clef for tenor parts in scores nbsp The vocal range of the tenor is the highest of the male voice types Within opera the lowest note in the standard tenor repertoire is widely defined to be B 2 However the role of Rodrigo di Dhu written for Andrea Nozzari in Rossini s rarely performed La donna del lago is defined as a tenor but requires an A 2 citation needed Within more frequently performed repertoire Mime and Herod both call for an A2 citation needed A few tenor roles in the standard repertoire call for a tenor C C5 one octave above middle C Some if not all of the few top Cs in the standard operatic repertoire are either optional such as in Che gelida manina in Puccini s La boheme or interpolated added by tradition such as in Di quella pira from Verdi s Il trovatore however the highest demanded note in the standard tenor operatic repertoire is D5 found in Mes amis ecoutez l histoire 6 from Adolphe Adam s Le postillon de Lonjumeau and Loin de son amie 7 from Fromental Halevy s La Juive In the leggero repertoire the highest note is F5 Arturo in Credeasi misera from Bellini s I puritani 8 non primary source needed 9 therefore very few tenors have this role in their repertoire without transposition given the raising of concert pitch since its composition 10 or resorting to falsetto In choral music editIn SATB four part mixed chorus the tenor is the second lowest vocal range above the bass and below the alto and soprano Men s chorus usually denotes an ensemble of TTBB in which the first tenor is the highest voice Whilst certain choral music does require the first tenors to ascend the full tenor range the majority of choral music places the tenors in the range from approximately B2 up to A4 The requirements of the tenor voice in choral music are also tied to the style of music most often performed by a given choir Orchestral choruses typically call for tenors with fully resonant voices but chamber or a cappella choral music choral music sung with no instrumental accompaniment can rely on baritones singing in falsetto 11 Even so one nearly ubiquitous facet of choral singing is the shortage of tenor voices 12 13 Most men 18 and older tend to have baritone chest voices and because of this many men in choirs tend to prefer singing in the bass section though true basses are even rarer than tenors Many baritones sing tenor even if they are not able to cover the full range in only their chest voice and sometimes contraltos sing the tenor part 11 In men s choruses that consist of four male vocal parts TTBB tenor 1 tenor 2 bass 1 bass 2 tenors will often sing both in chest voice and falsetto extending the vocal range of the choir Subtypes and roles in opera editWithin the tenor voice type category are seven generally recognized subcategories leggero tenor lyric tenor spinto tenor dramatic tenor heldentenor Mozart tenor and tenor buffo or spieltenor There is considerable overlap between the various categories of role and of voice type some tenor singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors Leggero edit Also known as the tenore di grazia the leggero tenor is essentially the male equivalent of a lyric coloratura This voice is light agile and capable of executing difficult passages of fioritura The typical leggero tenor possesses a range spanning from approximately C3 to E5 with a few being able to sing up to F5 or higher in full voice In some cases the chest register of the leggero tenor may extend below C3 Voices of this type are utilized frequently in the operas of Rossini Donizetti Bellini and in music dating from the Baroque period citation needed Leggero tenor roles in operas 10 Arturo I puritani Bellini Count Almaviva The Barber of Seville Rossini Count Ory Le comte Ory Rossini Ernesto Don Pasquale Donizetti Elvino La sonnambula Bellini Henry Morosus Die schweigsame Frau Strauss Lindoro L italiana in Algeri Rossini Don Ramiro La Cenerentola Rossini Tonio La fille du regiment Donizetti Lyric edit The lyric tenor is a warm graceful voice with a bright full timbre that is strong but not heavy and can be heard over an orchestra Lyric tenors have a range from approximately the C one octave below middle C C3 to the D one octave above middle C D5 Similarly their lower range may extend a few notes below the C3 There are many vocal shades to the lyric tenor group repertoire should be selected according to the weight colors and abilities of the voice Gilbert Duprez 1806 1896 was a historically significant lyric tenor He was the first tenor to sing on stage the operatic high C from the chest ut de poitrine as opposed to using falsettone He is also known for originating the role of Edgardo in Lucia di Lammermoor Lyric tenor roles in operas 10 Alfredo La traviata Verdi Chevalier Dialogues of the Carmelites Poulenc David Die Meistersinger von Nurnberg Wagner Il Duca di Mantova Rigoletto Verdi Edgardo Lucia di Lammermoor Donizetti Faust Faust Gounod Hoffmann The Tales of Hoffmann Offenbach Lensky Eugene Onegin Tchaikovsky Martin The Tender Land Copland 14 Oronte I Lombardi alla prima crociata Verdi Paris La belle Helene Offenbach Pinkerton Madama Butterfly Puccini Rinuccio Gianni Schicchi Puccini Rodolfo La boheme Puccini Romeo Romeo et Juliette Gounod Thaddeus The Bohemian Girl Balfe Werther Werther Massenet Wilhelm Meister Mignon Thomas Spinto edit The spinto tenor has the brightness and height of a lyric tenor but with a heavier vocal weight enabling the voice to be pushed to dramatic climaxes with less strain than the lighter voice counterparts Spinto tenors have a darker timbre than a lyric tenor without having a vocal color as dark as many not all dramatic tenors The German equivalent of the Spinto Fach is the Jugendlicher Heldentenor and encompasses many of the Dramatic tenor roles as well as some Wagner roles such as Lohengrin and Stolzing The difference is often the depth and metal in the voice where some lyric tenors age or push their way into singing as a Spinto giving them a lighter tone and a Jugendlicher Heldentenor tends to be either a young heldentenor or true lyric spinto Spinto tenors have a range from approximately the C one octave below middle C C3 to the C one octave above middle C C5 Spinto tenor roles in operas 10 Andrea Chenier Andrea Chenier Giordano Calaf Turandot Puccini Des Grieux Manon Lescaut Puccini Don Carlo Don Carlos Verdi Don Jose Carmen Bizet Erik Der fliegende Hollander Wagner Ernani Ernani Verdi Hermann Queen of Spades Tchaikovsky Macduff Macbeth opera Verdi Manrico Il trovatore Verdi Mario Cavaradossi Tosca Puccini Max Der Freischutz Weber Pollione Norma Bellini Radames Aida Verdi Stiffelio Stiffelio Verdi Gustavo Un ballo in maschera Verdi Turiddu Cavalleria rusticana Mascagni Dramatic edit Also tenore robusto the dramatic tenor has an emotive ringing and very powerful clarion heroic tenor sound The dramatic tenor s approximate range is from the B one octave below middle C B2 to the B one octave above middle C B4 with some able to sing up to the C one octave above middle C C5 10 Many successful dramatic tenors though have historically avoided the coveted high C in performance Their lower range tends to extend into the baritone tessitura or a few notes below the C3 even down to A 2 Some dramatic tenors have a rich and dark tonal colour to their voice such as the mature Enrico Caruso while others like Francesco Tamagno possess a bright steely timbre Dramatic tenor roles in operas 10 page needed Canio Pagliacci Leoncavallo Dick Johnson La fanciulla del West Puccini Don Alvaro La forza del destino Verdi Florestan Fidelio Beethoven Enee Les Troyens Berlioz Otello Otello Verdi Peter Grimes Peter Grimes Britten Samson Samson et Dalila Saint Saens Heldentenor edit Main article Heldentenor The heldentenor English heroic tenor has a rich dark powerful and dramatic voice As its name implies the heldentenor vocal Fach features in the German romantic operatic repertoire The heldentenor is the German equivalent of the tenore drammatico however with a more baritonal quality the typical Wagnerian protagonist The keystone of the heldentenor s repertoire is arguably Wagner s Siegfried an extremely demanding role requiring a wide vocal range and great power plus tremendous stamina and acting ability Often the heldentenor is a baritone who has transitioned to this Fach or tenors who have been misidentified as baritones Therefore the heldentenor voice might or might not have facility up to high B or C The repertoire however rarely calls for such high notes Heldentenor roles in operas 10 Florestan Fidelio Beethoven Tannhauser Tannhauser Wagner Lohengrin Lohengrin Wagner Siegmund Die Walkure Wagner Siegfried Siegfried Wagner Siegfried Gotterdammerung Wagner Walther von Stolzing Die Meistersinger von Nurnberg Wagner Tristan Tristan und Isolde Wagner Parsifal Parsifal Wagner Aegisth Elektra R Strauss Bacchus Ariadne auf Naxos R Strauss The Emperor Die Frau ohne Schatten R Strauss Menelaus Die agyptische Helena R Strauss Apollo Daphne R Strauss Drum Major Wozzeck Berg Paul Die tote Stadt Korngold The Stranger Das Wunder der Heliane Korngold Mao Tse Tung Nixon in China Adams Mozart edit A Mozart tenor is yet another distinct tenor type In Mozart singing the most important element is the instrumental approach of the vocal sound which implies flawless and slender emission of sound perfect intonation legato diction and phrasing capability to cope with the dynamic requirements of the score beauty of timbre secure line of singing through perfect support and absolute breath control musical intelligence body discipline elegance nobility agility and most importantly ability for dramatic expressiveness within the narrow borders imposed by the strict Mozartian style The German Mozart tenor tradition goes back to the end of the 1920s when Mozart tenors started making use of Caruso s technique a tenor who rarely sang Mozart to achieve and improve the required dynamics and dramatic expressiveness Mozart tenor roles in operas 10 Spirit of Christianity Die Schuldigkeit des ersten Gebots Oebalus Apollo et Hyacinthus Bastien Bastien und Bastienne Fracasso La finta semplice Mitridate Mitridate re di Ponto Aceste Ascanio in Alba Scipione Il sogno di Scipione Lucio Silla Lucio Silla Belfiore La finta giardiniera Don Anchise Il Podesta La finta giardiniera Alessandro Il re pastore Idomeneo Idamante Idomeneo Belmonte Die Entfuhrung aus dem Serail Pedrillo Die Entfuhrung aus dem Serail Don Basilio The Marriage of Figaro Don Curzio The Marriage of Figaro Don Ottavio Don Giovanni Ferrando Cosi fan tutte Tito La clemenza di Tito Tamino The Magic Flute Monostatos The Magic Flute Tenor buffo or spieltenor edit A Tenor buffo or spieltenor is a tenor with good acting ability and the ability to create distinct voices for his characters This voice specializes in smaller comic roles The range of the tenor buffo is from the C one octave below middle C C3 to the C one octave above middle C C5 15 The tessitura of these parts ranges from lower than other tenor roles to very high and broad These parts are often played by younger tenors who have not yet reached their full vocal potential or older tenors who are beyond their prime singing years Only rarely will a singer specialize in these roles for an entire career 10 In French opera comique supporting roles requiring a thin voice but good acting are sometimes described as trial after the singer Antoine Trial 1737 1795 examples being in the operas of Ravel and in The Tales of Hoffmann 16 page needed Tenor buffo or spieltenor roles in operas 10 page needed Count Danilo Danilovitsch The Merry Widow Lehar Don Basilio The Marriage of Figaro Mozart Mime Der Ring des Nibelungen Wagner Don Anchise Il Podesta La finta giardiniera Mozart Monostatos The Magic Flute Mozart Pedrillo Die Entfuhrung aus dem Serail Mozart Slender The Merry Wives of Windsor opera Nicolai John Styx Orpheus in the Underworld Offenbach Prince Paul La Grande Duchesse de Gerolstein Offenbach Kalman Zsupan The Gypsy Baron Johann Strauss II The Captain Wozzeck Berg The Magician The Consul Menotti Beppe Pagliacci Leoncavallo Frantz The Tales of Hoffmann Offenbach Spoletta Tosca Puccini Goro Madama Butterfly Puccini Pong Turandot Puccini Gastone La traviata Verdi Roderigo Otello Verdi Dr Caius Falstaff Verdi Gherardo Gianni Schicchi Puccini King Kaspar Amahl and the Night Visitors Menotti Triquet Eugene Onegin Tchaikovsky The Holy Fool Boris Godunov Mussorgsky Pasquale Orlando paladino Haydn Platon Kuzmich Kovalev The Nose Shostakovich Gilbert and Sullivan and operetta edit All of Gilbert and Sullivan s Savoy operas have at least one lead lyric tenor character Notable operetta roles are Candide Candide Bernstein Alfred Die Fledermaus Johann Strauss II Eisenstein Die Fledermaus Johann Strauss II Camille Count de Rosillon The Merry Widow Lehar Prince Karl The Student Prince Romberg Captain Dick Naughty Marietta Herbert Edwin Trial by Jury Gilbert and Sullivan Alexis The Sorcerer Gilbert and Sullivan Ralph Rackstraw H M S Pinafore Gilbert and Sullivan Frederic The Pirates of Penzance Gilbert and Sullivan The Duke of Dunstable Patience Gilbert and Sullivan Lord Tolloller Iolanthe Gilbert and Sullivan Hilarion Princess Ida Gilbert and Sullivan Nanki Poo The Mikado Gilbert and Sullivan Richard Dauntless Ruddigore Gilbert and Sullivan Colonel Fairfax The Yeomen of the Guard Gilbert and Sullivan Marco Palmieri The Gondoliers Gilbert and Sullivan Other uses editThere are four parts in barbershop harmony bass baritone lead and tenor lowest to highest with tenor referring to the highest part The tenor generally sings in falsetto voice corresponding roughly to the countertenor in classical music and harmonizes above the lead who sings the melody The barbershop tenor range is Middle C to A one octave above Middle C though it is written an octave lower The lead in barbershop music is equivalent to the normal tenor range 17 page needed In bluegrass music the melody line is called the lead Tenor is sung an interval of a third above the lead Baritone is the fifth of the scale that has the lead as a tonic and may be sung below the lead or even above the lead and the tenor in which case it is called high baritone 18 page needed See also edit nbsp Opera portalCategory of tenors Fach system for voice classification List of tenors in non classical music Voice classification in non classical musicReferences edit Roland Jackson 23 October 2013 Performance Practice A Dictionary Guide for Musicians Routledge p 458 ISBN 9781136767708 Vocal Ranges Yale University Library web library yale edu Retrieved 18 August 2021 Tenor vocal range Encyclopedia Britannica Retrieved 18 August 2021 Fallows David Jander Owen Forbes Elizabeth Steane J B Harris Ellen T and Waldman Gerald 2001 Tenor subscription required Grove Music Online Stark James 2003 Bel Canto A History of Vocal Pedagogy Toronto CAN University of Toronto Press ISBN 9780802086143 Eriksson Erik Adolphe Adam Le postillon de lonjumeau at AllMusic Retrieved 27 July 2014 Glaubitz Robert 2010 Loin de son amie No 3 Serenade from Act I of the French opera La Juive by Jacques Francois Fromental Halevy Aria Database com Archived from the original on 17 April 2017 Retrieved 16 April 2017 IMSLP Staff Guo Edward W et al 2017 Bellini I puritani vocal score PDF IMSLP org Wilmington DE International Music Score Library Project IMSLP Petrucci Music Library Project Petrucci LLC pp 254 256 Calico Joy Romantic and Modern Music Literature MUSL 244 PDF p 7 a b c d e f g h i j Boldrey Richard 1994 Guide to Operatic Roles and Arias Caldwell Publishing ISBN 9781877761645 page needed a b Smith Brenda 2005 Choral Pedagogy Plural Publishing Inc ISBN 9781597560436 page needed Calleja Joseph Amon Ruben 4 November 2004 Joseph Calleja I Am Nobody s Heir OperaActual com Translated by Sergio Maclean Archived from the original on 26 August 2009 Retrieved 2 May 2013 via FriendsofJosephCalleja com Sell Karen 2005 The Disciplines of Vocal Pedagogy Ashgate Publishing p 45 ISBN 9780754651697 Archived from the original on 24 March 2017 Retrieved 2 May 2013 page needed Glaubitz Robert 2010 The Tender Land Composer Aaron Copland Librettist Horner Everett Aria Database com Archived from the original on 5 September 2017 Retrieved 16 April 2017 Suverkrop Bard Draayer Suzanne 2017 Tenor Aria IPASource com Retrieved 16 April 2017 Cotte R J V 1997 Trial French Family of Musicians The New Grove Dictionary of Opera London New York Macmillan Archived from the original on 9 March 2017 Retrieved 16 April 2017 Averill Gage 2003 Four Parts No Waiting A Social History of American Barbershop Harmony Oxford ENG Oxford University Press ISBN 9780195116724 Cantwell Robert 2002 Bluegrass Breakdown The Making of the Old Southern Sound Urbana IL University of Illinois Press ISBN 9780252071171 External links edit nbsp Media related to Tenors at Wikimedia Commons nbsp The dictionary definition of Tenor at Wiktionary Retrieved from https en wikipedia org w index php title Tenor amp oldid 1188129130, wikipedia, wiki, book, books, library,

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