What Opera's 14 Types of Male Singers Sound Like
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- Опубліковано 29 вер 2024
- All in all, there are 30+ different kinds of roles in opera. 😱 That means there are 30+ different and distinct kinds of singing. (That's nuts to me. Who knew one tiny little offshoot of one genre of classical music could have so much variety?! But anyways.) Men make up 14 of those kinds of roles, but reading about it's no fun at all. So here's what they sound like!
RECORDINGS USED
⚱️ Hymn to the Sun - Akhnaten | Anthony Roth Constanzo
• Akhnaten • Hymn to the...
🐍 Alles fühlt der Liebe Freuden - The Magic Flute | Robert Norman
• All of them, they all ...
😢 Una furtiva lagrima - The Elixir of Love | Juan Diego Flórez
• Teatro alla Scala - G....
👨🎨 E lucevan le stelle - Tosca | Plácido Domingo
• Teatro alla Scala - G....
💪 Act 1 Finale - Siegfried | Siegfried Jerusalem
• Siegfried - Act 1, Sce...
✂️ Largo al factotum - The Barber of Seville | Gino Quilico
• Il barbiere di Sivigli...
🐂 Votre toast (Toreador Song) - Carme | Sam Ramey
• Bizet-Carmen-Toreador ...
📿 Te Deum - Tosca | Bryn Terfel
• Tosca - Te Deum (Bryn ...
🙏 Pietà, rispetto, amore - Macbeth | Dmitri Hvorostovsky
• Dmitri Hvorostovsky - ...
📖 Travelin' preacher - Susannah | Sam Ramey
• Samuel Ramey in compl...
🗡 Leb' wohl - Die Walküre | James Morris
• Leb' wohl (Despedida d...
🧥 Vecchia zimarra, senti - La Bohème | William Thomas
• Colline's Aria from La...
👠 Sia qualunque delle figlie - La Cenerentola | Alessandro Corbelli
• Sia qualunque delle fi...
😇 Cherubic Hymn | Mikhail Zlatopolsky
• A. Alyabyev - Cherubic...
STUFF USED
🎹 Piano
Hoffman, ~1930
C.Bechstein, Czech Republic
📝 My favorite iPad sheet music reader - ForScore -
forscore.co/
WHO AM I:
Hiya! 👋 I’m Cait, a normal person with a normal job who happened to get all her degrees in opera. Even though I don’t sing full-time anymore, I’ll always love the art (of course!), so now I make videos to help make opera feel more accessible and relevant to people living in, you know, not 1800.
GET IN TOUCH:
I’d love to hear from you! I bucked socials a while ago, so until I can afford a social media manager (lolol), reaching out through the contact form on the Scores Unstitched website is definitely the way to go.
AUDIO LIBRARY SOURCE
All recorded music is credited or in the public domain. This video is not intended for monetary compensation. It is for informational purposes only.
The "young deep-voiced male tired of everyone being surprised every time they open their mouth" was definitely me. One of the reasons I got into opera was....there was nothing else for me to sing (like....seriously. How many deep voiced males are there really in popular music? People's idea of a "deep male voice" today is like Josh Groban who isn't even a baritone).
Check out someone like Geoff Castellucci.
Maybe Rammstein? That's metal though.
But yeah I get it. I am mostly a musical theatre nerd. I could hardly think of any male character with bass range. Maybe some of Sondheim's shows. Sweeney Todd is usually played by a bass baritone, such as Bryn Terfel. But even that requires a G4 flat, which might be a little bit high for bass? Maybe you could try Emile De Becque in South Pacific. The highest note is E4 I think?
Why are bass voices not valued?
That's indeed why I also got into classical music. There's a more diverse variety of singers in classical music than in pop music I believe. Also, there are plenty of deeper voices in non-classical music, plenty of them with even deeper voices than Josh Groban, just not specifically within the genre of pop music in most cases.
Even for that they hire opera singers.@@ey8767
OMG, that low note, didn't know it was possible.
IF you want to hear someone hit low notes better check out Geoff Castellucci. He's basically the main reason I'm a bass.
@@ultimategaming4265 No the main reason you're a bass is that you have a bass voice haha. Geoff is the main reason you wanted to sing.
This video is fantastic in it's explanation of fachs! As a baritone I did notice a couple issues in that section though. First I just noticed that your example for the cantabile/kavalier baritone was Samuel Ramey, who is a bass. I know you want to make it clear that fachs are roles, but his voice might not give the right impression of that fach, especially considering he did not and could not sing any of the other roles you listed for that fach.
Agreed, roles like Marcello, Don Giovanni, Dr. Malatesta or Sharpless are far better examples for a Kavalier baritone than Escamillo (who is honestly something in between bass-baritone and kavalierbariton).
I was literally about to comment the same thing but luckily I saw your comment otherwise there would be a duplicate opinion
I agree with you that Samuel Ramey wouldn't be the best case to educate people on the Kavalier baritone fach.
Yes this was a tragic mistake…😢
I dozed off on the couch and woke up to this video. I know absolutely nothing about opera, and I found it quite entertaining.
I know many young basses. They hate being uncommon and pushed to sound less bass-like because basses aren’t common in their age. I don’t see why one should push a young singer to sound younger than they sound naturally. A classical singer should always sound DARK and LOUD
Also, a singer who can sing lyric baritone and cavaliere baritone is most likely not able to sing Verdibaritone and vice versa. I know a young bass-baritone, who will most likely also sing some full-dramatic baritone-repertoire in the future, but never Papageno or Figaro.
@@mathildehb0076 And that's okay because we're all different :)
There's really only one kind of baritone. All the old ones sang everything north of Wotan, and the Italians that did sing Wotan still sang in La favorite.@@mathildehb0076
many young basses seems contradictory
@@JackInABeanstalk98 «How is “many young basses” more contradictory than “many young tenors”?! They aren’t as common and many of them start off as baritones.
“Young” as in their 20s. They often mature faster than tenors do. Also well trained young baritones struggle less with the high G than tenors do with the high C. But tenors still need the C more often than the baritones and basses need the G. This often leads to teachers misvoicing their students at a relatively young age and giving them harmful repertoire. “You are probably just a wagnerian tenor”. This has happened too often, and they get short careers, and lose their voice in the end.
This is why young singers should study more art song than opera and gradually learn more operatic repertoire when they are in their mid 20s.
Just a quick correction the last note is around F1 I think, not F0.
Yep. As a bass who can't quite hit a C2 except early mornings, I know the sound of a C2 very well from trying
I remember you from a masterclass with Gerard finley you were amazing so excited to see you again. I would have made a distinctiom between dramatic and helden tenor. In terms of roles, They are not the same because the dramatic tenor is Italianate and typically a higher tesstitura, (Othello and la traviata - alfredo have the same tessit) and massive high notes. Heldentenor have huge voice but spend a majority of singing in a baritone range. Their middle voices are required to be larger than the dramatic tenor. And I'm not talking about singers but rather the roles.
Some strange terms and misinformation here. There should be a little more tenor categories and much less baritone and bass. "Cantabile baritone" is not a widely used phrase. In fact this is the first time I've heard it and if you google it very little comes up regarding singers. "Kavalier baritone" on the other hand is commonly used. "Leggiero baritone" should probably be baritone Martin. Not many parts for Verdi baritones? what? And then the example is Puccini?? And then heldenbaritone examples are mostly Verdi?? With lyric baritone Hvorostovski singing? And why then have Dramatic baritone as seperate from both Verdi and Helden? Makes no sense.
***OMG, phenomenal VIDEO! Thank yo so much for this stunning survey, very thoughtfully done! I love your associations and metaphors that explain each FACH! I also have a similar style in my own teaching of languages. Keep it up soul sister!! :) ***
The biggest missed examples in this video would be Ettore Bastianini as the standard for Verdi Baritones, and Franco Corelli for Spinto Tenors. Both of them have such a big cutting voice they pretty much set the standard for their roles.
Bastianini is a good example. His Verdi repertoire is superb. Bryan Terfel is a bass baritone. Franco Corelli is more like a dramatic tenor, so is Lauri Volpi. They are usually classified as spinto but I usually put them on the dramatic side. Spinto is a type of lyric tenor. Singers like Corelli sounds a little bit too much in some lyric repertoires. Placido Domingo is just a textbook spinto when he’s younger.
10:39 btw you used the wrong score, Ramey (who is not a a cantabile baritone) is singing in f, not g.
You're right; Samuel Ramey was a real bass (and to be more complete, a basso coloratura).
God I wish I were a Lyric Baritone : ^ ))))))
Nice video, but I had wished you had chosen an actual low bass opera excerpt rather than a choir piece where the low bass is barely audible
Ok, wait, for Cantabile Baritone you chose Samuel Ramey (Bass) singing a Bass-Baritone aria; for Verdi Baritone you chose Bryn Terfel (Bass-Baritone) singing Puccini, and for Helden Baritone you chose Hvorostovsky (lyric-baritone) singing a Dramatic Baritone aria by Verdi. 🤦🏻♂️
Terfel is nowhere near a bass-baritone. But I agree with you on Hvorostovsky.
@@CristianIonita-nm6xbTerfel is practically a stereo typical bass baritone and Ramey is a basso cantante with a little extra heft.
i think that in the tenor is missing the light tenor (even if you said Almaviva). For me Florez is a light tenor while pavarotti is a lyric (or lirico leggero but not light)
Leggiero is Italian for light. And again she is talking about faces here, but singers.
11:38 Verdi Baritone: shows a Puccini role.
Escamillo is too low for a lyric baritone.
Escamillo is best suited for a bass baritone imo
Agreed. Ramey is a high bass, not a baritone. I would go with something like Onegin for cantabile baritone
@@homagetogreathistoricalsin9711 yep. All her other examples (Don Giovanni, Onegin, Marcello) where great but Escamillo is way out of place
@@falkfink true. Ramey singing Olin Blitch was more accurate as far as the category.
The difficulty with Escamillo is the Act II aria has all the low B flats, but in his other big number, the Act III duet with Don José, his phrases lie up in lyric baritone territory, with several high Fs and one big high G. When basses are cast as Escamillo, they often flounder in the Act III duet.
Thank you! Enjoyable and competent presentation.
I am such a big fan of spinto tenors and heldentenors because their heroic high notes are exciting. Same goes for dramatic tenors too. I also find the lyric tenors to be adorable by the way they sound when they sing amazing phrases especially in the Donizetti aria Florez sang. However Florez was considered a leggero tenor than a lyric tenor even though he is my favorite singer.
Indeed I agree that the heavier tenor voices are amazing. But yes Florez is usually considered a leggero tenor.
They each have their own quality though. Look around UA-cam - there is a Pavarotti making an absolute meal of "O mon ame" (the aria Florez slays) while Florez cannot drown out the backing in the climax of "Nessun dorma" (Pavarotti's renowned party piece). Its about the type of voice the song is written for - ie the fach.
And for heldenbaritone the best example is Wotan from Wagner's "Der Ring des Nibelungen" or the Hollander from "Fliegende Hollander". Jago and Macbeth are more for dramatic baritone, bat those roles still are Verdi baritone roles. And heldenbaritone is not really baritone, it's huge, ringing bass-baritone. And in many classifications bass-baritone is classified as highest bass voice type.
Thank you very much for the video! I came here to figure out exactly what kind of bass I would be now and (I'm 18, so this can change of course but) I got my answer. And unsurprisingly I'm a young bass right now.😂 Maybe a tiny bit lower. So thank you, this was really informative.
However, by the way, just a quick correction: the last clip was C2-F1 - so C1 is the double low C and F0 would be off the keyboard of the piano (however there actually IS a clip of Mikhail Zlatopolsky audibly singing a double low C with such power that you can clearly hear it even though if I'm not mistaken there must have been at least 10 people singing higher notes along with him, so these things combined are like... barely humanly possible). But he did it. Because oktavists...
Thank you... Was about to correct the "C1-F0" mistake but lo and behold (no puns teehee) someone else got it taken care of.
Hello! Loving the video! I wanted t ask, would you make like "an extension" talking about Tenore di grazia/ tenore leggerio?
Gulielmo, Papageno, Belcore are lyric baritones?! Those roles are more for bass-baritone. All Mozart's low male voice roles (exept of low bass roles like Sarastro and Osmin) are written for bass-baritone. And many of belcanto baritone roles is pretty low. And Onegin is typically lyric baritone role. Russians often call lyric baritone onegish (Onegine-like).
And Escamillo is 100% bass-baritone role (that voice called "barytone basse" in French and that type of voice appears often in French opera).
Well put. When you look at the tessituras of characters like Figaro and Guglielmo in the ensembles and finales, you learn what Mozart's real entention was for vocal casting in his operas. Guglielmo is a bass (Don Alfonso always has the middle line), as is Figaro. Papageno shouldn't even be discussed here as the role was written expressly for Schikaneder's limited vocal range.
@@vcaus Of course originally Mozart's Figaro is written for bass. He must sing lowest line in sexstet (after judgement) and an otional low F. And Guglielmo is similar. But they are not as low as Osmin or Sarastro and bass-baritone can sing it easely. For me the best choice for Figaro is voice like Cesare Siepi.
I dont think this video is especially accurate; there are missing types eg - the basso profundo - Osmin & there are too many overlapping alleged Fächer making the whole analysis unnecessarily complex.
I was raised in the Greek Orthodox church, but I actually also had the privvilege to hear, see, and feel a few Oktavists and Bassos Profondos singing hymns deeply, loudly, and resonantly just a few meters, maybe centimiters from me, right to my face
Nice Video, I would just add a little detail, maybe other poeple did this comment, but it sounds weird to me to hear about fach without talking about passagio. I know that the range is important but to classify with the passaggio is so much healthier for a male voice. I saw many poeple finding his good repertoire too late... because they consider the range and the colour instead of the passaggio...And the Fach can be a person as in Germany there are institutions that deliver contracts based on the Fach of the singer. That's not a great thing but it exists
As regards MONOSTATOS in DIE ZAUBERFLOTE I was once in a production where this character was easily sung by a baritone which shows that the so called FACH system is sometimes a rather narrow one indeed. I wonder how Mozart really considered the character vocally.
Many of the small low-lying Charaktertenor roles can technically be sung by baritones, some even by basses. Having tenors sing these roles makes them sound less serious, as most of these roles are rather ridiculous characters.
But depending on what the producer is going for, you sometimes see e.g. monostatos,yamadori,Altoum played by baritones.
I dont agree with your complicated distinctions especially with the bass/baritone range where many roles are sung by either basses or baritones & these alleged different "Fächer " all overlap - for example Samuel Ramey who has bass depth & can also hit the high baritone notes. And you say there are not many "Verdi" type baritone roles. That is nonsense - practically every opera Verdi wrote has this type of voice - Simon Boccanegra, Macbeth, the Count in Trovatore, Renato in Un Ballo, Rodrigo in Don Carlos, Don Carlo in Forza del Destino. These are baritones with a higher tessitura than Mozart baritones.
And I missed out Iago & Falstaff.
I don’t think baritone was an official voice type in Mozart’s time. He did write for specific singers that he considered high and low basses.
Huh. I thought dramatic tenors and spinto tenors were different voice type. Domingo would be dramatic; Jonas Kaufman spinto.
Wtf is that Magic Flute production as a videogame arcade where Pamina is the classical Princess Peach and Monostatos is Wario?!! Odd switch change of the voice, because usually Mario and Luigi got the higher and lightier male voices in the games and Wario has a deep to middle dark tune voice, not as deep as Bowser himself (he usually going for deep bass-like) but rather very bass-barytone type. (Seems much what Mozart choose for Don Basilio voice on Le Nozze as a light high tenor type, whereas Rossini chooses for him a quite heavy menacing yet agile deep bass voice).
Hello there. Thanks for the video. I have a question tho. Where is the leggero tenor in fach? I know this type exists but I don't know about the famous roles and stuff. Thanks for all the answers in advance.
Unpopular opinion: I personally prefer seeing a dude as Cherubino, even though I've seen the FIGARO three times live and the role has always been played by ladies. Seeing clips of countertenors as Cherubino just seems right. I think it's because of the shift toward demanding more *acting* prowess from opera singers, it logically follows (for me at least) that a male would be more realistic, because the character is male. But again, that's an unpopular opinion.
I appreciate these videos as I nerd out about them too! As far as singer categories (perhaps not characters) I have created a playlist if you care to check it out. Thanks for the video!
ua-cam.com/play/PLWvuGazaGdfqo4qLQHhKkyIwpyrHbp-RG.html&si=uNNs0bTfxPC7CK3D
Most music examples and singers shown do not correspond with the intended Fach !! Not coherent, recommend looking up a different video if you want solid information. Nice try but…
Handel never used countertenors in his operas as they lacked the power and technique of the Italian singers. If a castrato wasn't available then he would employ a female singer en travesti.
I enjoyed this video and you took on some very difficult subjects which are almost impossible to clearly define. Having said that, I was very surprised by the roles you chose for examples of basso profundo roles. Bartolo in Barber of Seville is the epitome of a basso buffo role and is occasionally but rarely sung by a profundo. His aria can be challengingly high even for seasoned bass-baritones. There is nothing low in this role for a bass, and while it is usually performed by bass-baritones and basso cantantes, it is not unusual for it to be performed by a baritone. The Commentaore is not particularly low and while profundos occasionally sing it, it is usually handled by large voiced “regular basses.” I am surprised you did not pick the most obvious profundo roles: Sarastro in Magic Flute, Osmin in Abduction and Baron Ochs in Rosencavalier. 0:10
As always no examples of their speaking voices, and high bass differences from low baritones not so clear. Other than that quite informative video.
Such a great tutorial for opera lovers and potential opera lovers. However, I wish you could provide another soprano to illustrate the Turandot. The one you used was flat on the high notes in an opera where hitting the high notes on pitch is the apex of the aria. Please keep up the good work. Jill in Texas.
I'll argue Escamillo is not Cantabile baritone role, simply because no higher baritone can be heard over the orchestration. The range is far too low. Escamillo is lower even than most Verdi baritone parts. It's truly a Dramatic baritone or Basso Cantante part. Also please don't use Hvorostovsky as an example of Helden Baritone when he was a Lyric at best. He can't be heard in the house above anything bigger than a Verdi orchestra.
Exactly Escamillo is definitely not Cantabile baritone, maybe he has to be good looking but range is much lower. The example should have been Dmitri Hvorostovsky with Onegin.
I am sorry ,but the score of Una furtiva lagrima is LOWER here than it is , 1 and a 1/2 note lower... There it goes up to A flat... (Not F) It is a nice video, I will subscribe...
Some of these singers don't have the power for opera singing at all, they sound like they're faking it. Anybody can do that.
As spinto tenor Corelli is unsurpadsed. But you chose Domimgo who, for no reason called that epotaĝe Netrebko " another Callas "!!!??? However, he must have been either bribed in some way or another, or he is out of his mind@
If you think Domingo's a spinto tenor, then it's idiocy. Perhaps the best choice is Corelli in the spinto.
both your female FACH and this are wonderful; a needed education. thank you.
Papageno is lyric baritone? Lol, cool joke, mom
Interesting to think about the history of the fach system itself- starting during the late 19th C. Post war “purist” singers often advocated to abandon the system.
many thanks very informative ❤❤
I am 11 years old just starting middle school and my range is G2-G3 I sound like a giant
🤣🤣🤣
You are glaringly missing the Italian Tenore Di Grazia/ leggero tenor and Tenore Robusto. There is a lot of missing information and wrong examples here. You use Domingo to show what a supposedly high and very bright sounding tenor voice is supposed to sound like, Domingo always stuggled with high notes and he did not have squillo (bright sound). If you use a bad examples, that is counter to the characteristics you list, people will point it out. It is not true that these are just roles, there are characteristics and voice types that can be identified. If you are a tenor, you cannot suddenly decide that you will play the role of a bass. If you have a lyrical voice and you try to play in too many dramatic parts, you can damage your voice. There is obviously a connection between voice types and the roles you play, you cannot completely separate the two. There are two major tenor categories missing here. It is debatable if it is only two. Like sopranos, there are the most categories in the tenor fach. You can add, Leggero tenors, singing in I Puritani, Light Lyric tenors and Full Lyric tenors in La Boheme or Werther. You get Lyric Spintos like Richard Tucker Lauri Volpi, Mario Filippeshi and Franco Bonisolli in roles like Manrico in Il Travatore, Aida or Turandot high tessitura roles.
Depending on what you want to call the fach, Dramatic Spinto, Lyrical Dramatic Tenor, Heroic Tenor or German fach Jugendlicher Heldentenor. There used to be quite a few tenors in this type of category, Marli, Francesco Tamagno and Franco Corelli. I guess you could add the great Caruso to this fach as well. In roles like Pollione in Norma, Raoul in Les Huguenots, Cavalleria Rusticana, Andrea Chenier, Aida, Paggliacci ext. ext.
Or you would have to group all of these singers in the Italian Dramatic fach, with others such as Mario Del Monaco and Giuseppe Giacomini, and include roles such as Otello, La Forza Del Destino, La Fanciulla Del West, Pagliacci, Manon Lescaut, Samson et Dalila. You are skipping over a lot of popular tenor roles here. Isn't a Leggero Baritone actually a Bariton-Martin, there is no such thing as a Leggero Baritone.
I stopped watching after the Heldontenor. (Not all heldentenors have big voices, as the example you showed, was clearly not a big voice). There are many dramatic tenors with bigger voices. You obviously did a lot of hard work, the video looks good, and you did very well, but the information is just incomplete and incorrect.
Two questions. 1. Curious why you go to Puccini for an example of a Verdi baritone? Why not Germont, Rigoletto, Filippo II or Rodrigo, Amonasro, etc. You could pick almost any Verdi opera and find a Verdi baritone, that's why they are called "Verdi baritone" but you went with... Puccini?
2. Where would you place a character like Baron Ochs? Or Falstaff? Buffo basso profondo?
Baritones are boring. They are very gray
With the female fachs video - the best here on UA-cam! Love it, thank you very much and looking forward to another videos ❤
Not gonna watch this. 14 is WAY too many. 3 or four kinds of tenor, baritone, bass, castrato. The end. Might as well say it's infinite because every singer is unique.
Because Juan Diego Florez would fit so well singing Wagnerian repertoire. The subtypes exist for good reason.
It was ironic and funny that for the verdian baritone you chose a puccinian role, Barone Scarpia 😅
It is considered a Verdi baritone role, but dramatic baritones and a very small number of bass baritones can handle it.
Forced constriction is not opera singing
Among the many dire (or just plain incorrect) statements in this video, the four that jump out for me personally are: 1. the lack of differentiation between Helden tenor and Dramatic Tenor (in the Italian tradition). 2. Cantabile Baritone should be replaced by the definition and examples of the Kavalier baritone... cantabile baritone is not really a thing. 3. I know you make a point about singers not being fachs, but if you are saying Escamillo is a 'cantabile' baritone, why use the example of one of the greatest of all bass/bass-baritone singers to demonstrate it? and then 4. The ENTIRE Verdi baritone explanation. This showed an unbelievable lack of understanding. Just looking at the fach's namesake, Verdi... there are a large number of roles, not to mention roles from his contemporaries... and then you use a Puccini example... which is not even a Verdi baritone role... it's lower set, and requires much more carry in the middle of the voice, as opposed to roles like Rigoletto, Di Luna (Il Trovatore), Renato (Un Ballo in Maschera), Ford (Falstaff), Rodrigo (Don Carlo) etc etc which have a higher tessitura and still require great power, richness of timbre, elegance, emotion, and nobility... any of these... or many others would have been a much better example of the fach.
I love all your examples, great selections. And the effort to put the score up!! I know how much time it will need to take! Thank you!
Love this video. This should be required listening for all singers!
Bravo
I can't believe how little you know about male voices. Dima was not a helden baritone. Sam is not a baritone. Juan Diego is not a lyric tenor. Bryn is a bass baritone, not a baritone. Woton I'd considered a helden baritone role and Dima would never touch wagner (nor did). He was a kavalier baritone.
It's laughable what range you think basses sing in. The lowest notvwritten in any "standard" opera is the famous Osmin D.... which most basses just vocal fry through.
It seems you've come up with your very own fashion system. 😂
Handel rarely, very rarely used counter-tenors. He wrote his masterpieces for castratri.
Magnificent vídeo!. Thank you so much for sharing the knowledge!
14:01 אלי גורנשטיין זה אתה?
My vocal range is F#2-F#4. Am I a dramatic baritone or what? I'm currently 18.7 years old.
Probably a lyric. Hard to determine without a sample.
@@TheeJordanRossi thanks for your answer.
Very useful, thank you!
Somehow the countertenor voice is better suited for the modern opera roles since the 1950s with Britten and thereafter, than the Baroque ones because though they have developed A LOT to fit a match for the castrato roles of then, their voices are kinda more naturally fitted for female singers in pants-roles, and the countertenors kinda got a mixed-reaction on between how they look and how they sing on those parts, whereas the modern opera ones were already written on for themselves since EVER the very beginning of the roles on themselves, henceforth Akenathen is very uniquely done by a countertenor, wheras Orpheus and Giulio Cesare kinda have some ambiguity when actually the female singers might be doing kinda a more "realistic" stronger tune-performance on their voice singing and acting qualities than the countertenor voice for the same roles. (Oddily a female mezzo or contralto does a more "masculine" role than countertenors on that, it´s odd and contradictory but it kinda does happens, and well, henceforth why a total substitution on them instead of pants roles might not ever happen in all)
what?? There's no such thing as voice quality or 'niceness' not mattering in opera, comedy or not comedy. That's for any other kind of singing, but not opera.
i joined an opera group literally because i'm a bass. there's nothing else for me to sing and no musical theatre roles cater to us lmao
Hello
I don't know anything about singing
I wanted to ask, is the highest and lowest note measured on what's comfortable to sing or also the outlier notes on can struggle with sometimes?
And can a woman have a B2 lowest (bit strained)?
This is great! Helps demystify the differences - although still mysterious, especially to people in the United State.
Very interesting! Greatly done!
I opened this video just because I wanted to try to find a better description for my voice type (I knew I was a baritone, and that I prefer singing higher in my range, but I wanted to find a better way to classify that - I would say I'm a lyric baritone [untrained though, I just like singing and writing music a lot]), but it was really interesting to learn about all of the types, not just my own. I was expecting to find everything interesting already, just because that's how my brain works, but I wanted to mention that it was just as interesting to learn about as I expected :)
So the last bass FACH is that car next to you at the stop light with maximum bass. You can't really hear the music, but you can feel the vibration of that bass knob turned all the way up.
i mean, the countertenor part reminds me of the scene when Alan Garner sings at the funeral...
wait a minute
you put leggero in the wrong category
leggero is for the hightest tenor voices, even higher than light lyric voices.
There is a young basso profundo on Tik-tok who has very strong low notes in the choir he sings in.
I found that quite interesting, Opera not my thing, but do appreciate the skill and ability. I tend to think of singers by role too, from Tom Jones to David Coverdale or Dio etc.
Scarpia is example of Verdi baritone role? The role from Puccini, and biggest requirement for that role is huge voice (off course mostly that will be lower voice, many of famous Scarpias of past were bass-baritones).
Character tenor is not highest. Mime is character tenor either. And Monostatos is not written for heigh tenor, sometimes that role sing even baritones.
I honestly thought for the last one, you were going to play the bass duet from Mephistoles.
I love learning new things about voice. Thanks!
The counter tenor was glorious!
Very informative and helpful. Thanks.
I don’t favor any fach. I enjoy them all.
God my voice type really isn’t popular
Wow, really interesting! Thank you! :-)
Is “Mime” from the ring cycle a character tenor? For that matter, is Herod from Salome? Or did Gerhard Stolze getting really *nasty* singing influence everyone after? I did once hear a Mime from the very early 1900s where the singer sung it straight, but everyone else (Heinz Zednik etc) leans heavily into the nasality.
Mime is indeed a character tenor, though on the heavy side as he still has to be audible over a way louder orchestra than most character tenor roles.
How "seriously" the role is sung depends mostly on the production, most indeed go for a sneering nasal style for most of the role.
Thank you for this
Fantastic video! Well edited too 👌👌
Girl i learned so much and you are funny af.
Thanks! Great work!
Zlatopolsky’s lowest note was a C1, not an F0
Yeah that wasn't an F0, that was an F1.
My god what is that mario Zauberflote in 4:30...
Yep that’s right lol
Just another production of Zauberflöte. If you don't like it, there are hundreds of other productions here on UA-cam alone, with the majority of them being rather traditional (some done well and some boring and uninspired).
I agree with the maker of the video, Mozart would have loved this if he was alive today. Die Zauberflöte is also a Singspiel (different from opera), so this really is the last thing worth to be upset about it being a modern/funny production.
I notice you do not recognise the Bassbaritone class/category as distinct from the Baritone class though you describe the voice [fach?]. Perhaps there is still something not quite solid about the pedagogic recognition of this class name but the same is to be said about several other sub-classifications which you use.
I'm old enough to remember how voices were commonly classified by the early 1960's and this voice class designation was perfectly familiar to me then. It was regularly used by a lady whom I knew well who had studied at the Royal College of Music, London, before WW2. It has continued to be familiar to me from e.g. the printed programmes of the Australian Opera and other sources. I do not think it can be done without today unless we are prepared to return to the old Tenor-Head Tenor-High Tenor scheme which went out about 1800.
OK, for male voices: Deep Bass- Lyric Bass- Tenor- Head Tenor- High Tenor- Alto.
I dislike the generalisation if it comes to range of each of the voice types. Giving my example - my range should be from F3 to A5 but it isn't that black and white. I can sing up to C#6 without sounding like a squeezed cat on a good day AND as low as F2 if I take into consideration my chest voice which I rarely use (only in choir setup if there are not enough tenors lmao). But yeah, my point is - the range really varies based on individuals. Other than that, it is a good quality video. Good job.
Its the range of the characters/fach not the individuals. You also need to think about operatic range as being useful in a acoustic setting with an orchestra. Almost anyone claiming i have this and that range always falls apart when you actually hear them singing in these various ranges, with some exceptions. And you are not likely to be that exception.
I mean all bets are off for countertenors, because that isn't a legitimate operatic voice in the first place, but you're right in general. In opera, a USEABLE two-octave range is actually a lot. Plenty of singers had noticeably less.@@susandrakenviller3683
Samuel Ramey is actually a bass. But Toreador is a good example!
You don't seem to take criticism very well. The idea that roles are fachs is interesting, but gives little credit to the singer - I can see why many would disagree with such a bold statement.
I edit: Verdian baritones not so popular?? (We definitely live in parallel worlds!) - a Verdian role for the fach would have been nice too 😂
And more edit: you're a rebel, that's why Colline uses a microphone😢
I had great fun, thank you
Using a bass singing a bass-baritone role as an example for a cantabile/kavalier baritone is a bit unfortunate. Don giovanni or Dr. Malatesta would've been more fitting.
Yeah I agree Samuel Ramey is a basso cantante and Escamillo is a bass-baritone role. Either way it’s not that big of a deal. A mistake is a mistake 🤷
What about the sopranistas? Also, there have been some bass women, do they mention that on the other vocals vids?
Using a bass singing a bass-baritone role as an example for a cantabile/kavalier baritone is a bit unfortunate. Don giovanni or Dr. Malatesta would've been more fitting.