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Baritone Arias
THE
BARITONE VOICE
Since
America produces some of the best baritones in the world, the
baritone voice is essentially easy for us to relate to and
categorize. The repertoire of the Lyrischerbariton is perhaps less
taxing as the other baritone Fächer but he must be a good actor and
able to portray a variety of roles ranging from servants to
noblemen, from comic to romantic. The Kavalierbariton is the
handsome cavalier of the opera, the Don Giovanni. This Fach is sung
with an Italian warmth and a ringing top. The Charakterbariton has a
more metallic sound and the heavier dramatic repertoire. The
Heldenbariton is not a common voice type but while it does
not always require beauty in singing there is an overwhelming need
for expressive declamation and a powerful
stage presents.
Those arias most often heard in German Theater
auditions are marked with *. Those arias heard in audition but not normally sung
by the singer of this Fach in the opera house are given in parenthesis.
Lyric
Baritone
A
supple, flexible voice with a mellow line an extended top.
The
Spielbariton Fach is extremely important in the German opera houses,
since he has many supporting roles of a varied character. This
baritone must be a good actor and able to sing equally well in all
registers of his voice. He also must be willing sometimes, to play
second to the dramatic baritone, as in the role of Silvio in I Pagliacci. It is not necessary to have a high a flat in order to
sing this Fach, but it is necessary to have a good high g. Papageno
in Die Zauberflöte, Figaro in Der Barbier von Sevilla,
Malatesta in Don Pasquale, Harlekin in Ariadne auf Naxos and Dandini in
La Cenerentola are typical Lyrisherbariton/Spielbariton
roles.
Singers:
Herman Prey, Gino Quilico, Gino Bechi
Example: Herman Prey, Die
Zauberflöte
|
Harlekin
|
* Ariadne
auf Naxos
|
Lieben, Hassen, Hoffen, Zagen
|
|
Figaro
|
* Der
Barbier von Sevilla
|
Largo al factotum della città
|
|
Graf
(Count)
|
* Figaros
Hochzeit
(Le nozze die Figaro)
|
Hai già vinta la causa
|
|
Malatesta
|
* Don
Pasquale
|
Bella siccome unangelo
|
|
Wolfram
|
* Tannhäuser
|
Blickt
ich umher / O du mein holder Abendstern
|
|
Graf
(Count)
|
* Der
Wildschütz
|
Heiterkeit und Fröhlichkeit
|
|
|
|
|
|
Silvio
|
Der
Bajazzo (I Pagliacci)
|
Decidi il mio destin
|
|
Dandini
|
La
Cenerentola
|
Come un ape ne giorni d'aprile
|
|
Guglielmo
|
Così
fan tutte
|
Donne mie la fate a tanti
|
|
Belcore
|
Der
Liebestrank (L'elisire damore)
|
Come Paride vezzoso
|
|
Valentin
|
Margarethe
(Faust)
|
Avant de quitter ces lieux
|
|
Papageno
|
Die
Zauberflöte
|
All
three Arias
|
Kavalierbaritone
A
metallic voice, that can sing both lyric and dramatic phrases, a
manly noble baritonal color, with good physical appearance.
The
Kavalierbariton has a somewhat heavier voice than the Spielbariton
and plays a more important role on the stage. He must be attractive
enough to play Mandryka in Arabella, the title role in Eugen
Onegin, and the the Don in Don Giovanni. Unlike the Lyrischerbariton he must have the vocal quality to sing the Posa in
Don Carlos and Germont in La Traviata. Furthermore, he is
generally entrusted with the role of the Count in both Le nozze
di Figaro and Der Wildschütz.
Singers:
Eberhard Wächter, Thomas
Hampson, Sergei Leiferkus, Dmitri Hvorostovsky, Vladimir Chernov, Jorma Hynninen, Thomas
Allen, Hakan Hagegard
Example:
Eberhard Wächter,
Le nozze di Figaro,
Thomas Hampson,
Le nozze di Figaro
|
Onegin
|
* Eugen
Onegin
|
Wenn mich für Häuslichkeit auf Erden
|
|
Graf
(Count)
|
* Figaros
Hochzeit
|
Hai già vinta la causa
|
|
Figaro
|
Figaros
Hochzeit
|
All
three arias
|
|
Wolfram
|
* Tannhäuser
|
Blickt
ich umher / O du mein holder Abendstern
|
|
Germont
|
* La
Traviata
|
Di provenza il mar
|
|
Graf
(Count)
|
* Der
Wildschütz
|
Heiterkeit und Fröhlichkeit
|
|
|
|
|
|
Escamillo
|
Carmen
|
Auftrittslied
(Votre toast, je peux vous le rendre)
|
|
Don
Giovanni
|
Don
Giovanni
|
Finch' han del vino/ Deh, vieni alla finestra
|
|
Zar
|
Zar
und Zimmermann
|
Zarenlied
(Sonst spielt ich mit Zepter)
|
Verdi
Baritone
A
powerful voice capable of much nuance and fine characterization
ability.
This
Fach includes the roles generally associated with the Verdi and
Puccini repertoire. This baritone must be a heavy on
stage. He must be powerful in sound and in appearance, and have a
ringing high voice. The main roles for Charakterbariton include the
standard Verdi roles such as Rigoletto and Iago in Otello, and the
heavier Puccini roles of Scarpia in Tosca, Marcel in Il Tabarro, and the title role in
Gianni Schicchi. His
German repertoire includes the Musiklehrer in Ariadne auf Naxos, the
four villains in Hoffmanns Erzählungen, Alberich in Der
Ring, and Klingsor in Parsifal.
Singers:
Leonard Warren, Sherill Milnes, Antonio Scotti, Ettore Bastianini,
Tito Gobbi, Renato Bruson, Piero Cappuccilli, Matteo Manuguerra,
Leo Nucci, Paolo Coni, Giorgio Zancanaro, Roberto Frontale,
Geraint Evans, Lawrence Tibbett, Robert Merrill, Cornell MacNeil, Louis Quilico
Examples: Leonard
Warren,
Rigoletto; Sherill
Milnes,
Les contes d'Hoffmann
|
Tonio
|
* Der
Bajazzo (I Pagilacci)
|
Prolog
(Sì può, si può?)
|
|
Posa
|
* Don
Carlos
|
Per me giunto e il di supremo
|
|
Pizarro
|
* Fidelio
|
Ha! Welch' ein Augenblick!
|
|
Dapartutto
|
* Hoffmanns
Erzählungen
(Les contes dHoffmann)
|
Spiegel-Arie
(Scintille, diamant )
|
|
Macbeth
|
* Macbeth
|
Pietà, rispetto, onore
|
|
Rene
|
* Ein
Maskenball (Un ballo in maschera)
|
Eri tu che macchiavi quell anima
|
|
Iago
|
* Othello
|
Credo in un Dio crudel
|
|
Rigoletto
|
*
Rigoletto
|
Pari
siamo / Cortigiani vil razza dannata
|
|
Scarpia
|
* Tosca
|
Già mi dicon venal
|
|
Graf
Luna
|
* Der
Troubadour
|
Il balen del suo sorriso
|
|
|
|
|
|
Escamillo
|
Carmen
|
Auftrittslied
(Votre toast, je peux vous le rendre)
|
|
Alfio
|
Cavalleria
Rusticana
|
Auftrittslied
(Scioppa la spilla)
|
|
Ford
|
Falstaff
|
Monolog
(È sogno? o realità?)
|
|
Gianni
Schicchi
|
Gianni
Schicchi
|
Ah! che zucconi!
|
|
Don
Carlos
|
Die
Macht des Schicksals
|
Urna fatale del mio destino
|
|
Marcel
|
Der
Mantel (Il Tabbaro)
|
Nulla! Silenzio
|
Heldenbaritone
A heavy, projecting
instrument, that not only has a soaring top, but also a smooth,
carrying middle and low register.
This
Fach is a child of the German opera and is primarily reserved for
the exceptionally heavy Verdi roles, such as Amonasro in Aida and
the Wagner roles including Kurvenal in Tristan, Telramund in
Lohengrin,
and Wotan. The voice must be big, and have the ability to sound
cruel, and yet have tremendous expansive ability. It helps to be a
large person in this Fach but it is not absolutely necessary.
Singers:
George London, Rudolf Bockelmann, Friedrich Schorr, Hans Hotter,
Thomas Stewart, Donald McIntyre, James Morris
Examples:
Hans Hotter,
Die Walküre,
George London,
Die Walküre
|
Tonio
|
* Der
Bajazzo (I Pagilacci)
|
Prolog
(Sì può, si può?)
|
|
Kaspar
|
* Der
Freischütz
|
Hier im ird'schen Jammertal /
Schweig', sehweig'!
|
|
Holländer
|
* Der
fliegenden Holländer
|
Die Frist ist um
|
|
Telramund
|
* Lohengrin
|
Dank König
|
|
Macbeth
|
* Macbeth
|
Pieta, rispetto, onore
|
|
Sachs
|
* Die
Meistersinger von Nürnberg
|
Was duftet doch der Flieder /
Wahn! Wahn! Überall Wahn!
|
|
Amfortas
|
* Parsifal
|
Mein Vater!
|
|
Scarpia
|
* Tosca
|
Già mi dicon venal
|
|
Wotan
|
* Die
Walküre
|
Erzählung
/
Wotans Abschied (Leb wohl!)
|
|
|
|
|
|
Mandryka
|
Arabella
|
So flieset die helle, stille Donau
|
|
Boris
|
Boris
|
|
|
Falstaff
|
Falstaff
|
L'onore!
Ladri! / Quand'ero paggio
|
|