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In music, a baritone (from Greek ''βαρυτονος'' 'deeply, heavily sounding') is a male voice of intermediate pitch, between Bass and Tenor . It is typically written for in the range G one octave and a fourth below middle C to E above middle C (i.e. G2-E4), though it is often extended at the top {Link without Title} . TYPES OF BARITONE AND BARITONE ROLES IN OPERAS The baritone voice is may be subdivided as follows: Dramatic baritone A voice with a somewhat heavier, darker quality. A typical role for dramatic baritones in opera is a villainous role. This category cooresponds roughly to the Heldenbariton in the German Fach system except that here we have separated out the Verdi baritones from these lower drammatic baritones. These roles are also called bass-baritone roles. Many of these parts are in operas by Wagner . Generally these parts do not rise above a F so they are within reach of basses who want to move up. James Morris is an example of a successful bass who moved into this repetoire with even more success.
''The Tosca classification problem.'' The part of Scarpia in Tosca is a rare drammatic bass-baritone part in Italian opera. It only rises to a brief F# and has often been successfully assayed by basses like Sam Ramey and Ruggerio Raimondo and heldenbaritones like James Morris and George London. Scarpia can also be sung of course by by high Verdi Baritones like Leo Nucci or Sherill Milnes because it never goes very low. ''The Don Giovanni classification problem. ''From the nineteen thirties through the nineteen eighties the title role of Don Giovanni was dominated at the Met by the star basses Ezio Pinza and then Cesari Siepi . At the 1788 premiere in Vienna the Don was sung by the lightest male voice among the low male parts. He is referred to as a baritone in most modern scores and in the New Grove Dictionary of Opera. In the German Fach system the part of Don Giovanni is referred to as a Kavalierbariton. The Vienna premier cast had the same singer ( Bussani ) sing Masetto and the Commendatore. He was a bass who also sang Bartolo in - one of which is today cast with a baritone and the other with a bass. In fact all the non-tenor male parts in Don Giovanni have exactly the same vocal range and can be sung by either a baritone or a bass. The part of the Commendatore today is almost always sung by a bass but the part of Masetto is usually split off and sung by another singer - often a baritone. The title role requires a good deal of stage presence and charisma and is therefore usually sung by the sexiest low male voiced singer available whatever his nominal vocal classification. Lyric baritone A voice that is lighter and perhaps mellower than the dramatic baritone. It is probably the most common of the baritone voice types. A typical role for a lyric baritone in opera is a comical role.
The Verdi baritone A very specific career. These parts are sung by specialists who can carry a great deal of voice above the staff. Almost all these parts have an aria which climaxes with a high G. Before Verdi there were nearly no roles like this. Mozart has very high soprano parts and very low bass parts but only tenors sang as high as a G in his operas. Rossini, wrote his male parts for tenors and basses almost exclusively. Figaro in the comic opera Barber Of Seville is the one notable exception. In the more typical comic opera Cenerentola there is one tenor and three basses. In his serious operas Rossini (Elizabeta, Ricciardo e Zoraide, Otello, Armida, etc.) the villain is sung by a tenor with good low notes. Most Bellini operas ( Norma , Somnambula ) have no high baritone parts. Bellini's last opera I Puritani has a real baritone part as does Ashton in Donizetti's Lucia. But in general there were no high baritone parts before Verdi. The ''baryton-noble'' French for 'noble baritone'. Describes a part that requires a noble bearing, smooth vocalisation and forceful declamation, all in perfect balance. This category originated in the Paris Opéra , but it greatly influenced Verdi (Don Carlo in Ernani and La Forza Del Destino ; Count Luna in Il Trovatore ; Simone Boccanegra ) and Wagner, too. (Wotan; Amfortas)
The Martin baritone A lighter, almost tenor-like voice developed at the ; Hugues Cuénod ; Camille Mauranne .
BARITONE ROLES IN OPERETTAS AND MUSICALS
BARBERSHOP BARITONE In Barbershop Music , the baritone part sings in a similar but somewhat lower range to the lead (singing the melody), but has a specific and specialised role in the formation of the four-part harmony that characterises the style. Because barbershop singers can also be female, there is consequently such a singer (at least in barbershop singing) as a female baritone. The baritone singer is often the one required to support or 'fill' the bass sound (typically by singing the Fifth above the bass root). On the other hand, the baritone will occasionally find himself harmonising above the melody, which calls for a tenor-like quality. Because of the nature of barbershop arrangements the baritone part is invariably the most challenging to learn and the hardest to improvise. FAMOUS BARITONES ]] ]] ]] ]] Classical music
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