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THE TENOR VOICE
The high male voice, in addition to being classi ed by weight, allows for the consideration of comic ability. The Spieltenor or bu o tenor is a very busy man in the German opera house,
singing both small and large roles in opera and operetta. He must have excellent command of the German language and be a exible, singing-actor. Physically he may not have the
leading-character looks or appropriate size, being either too small or too heavy. If the voice is a large instrument capable of dramatic singing, the comic tenor may later move into, the
Charaktertenor Fach. The Lyrischertenor must have both the good looks, high notes and stamina to sing a wide variety of literature. The true leading tenor of the German theater is the
Jugendlich-Dramatischertenor. This is the American spinto tenor but with a more metallic quality than we are used to hearing in the Italian repertoire lending itself perhaps better to
the German literature at least in coloration. The Heldentenor is a rarity with a large voice and baritonal quality, heroic stage presents and excellent German.
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.
SPIELTENOR/TENORBUFFO (c to b')
Bu o Tenor
A smaller, expressive voice and and excellent actor.
The comic tenor in the German-speaking countries is a key gure in the opera and operetta. He has much more to do than the so-called comprimario in the American and Italian opera
houses. Indeed, many people will include in the category much of what is generally considered the lighter repertoire of Lyrischertenor Fach in this catagory. Language and acting skills
are often more important than singing ability. His popular roles include Pedrillo in Die Entführung aus dem Serail, Jacquino in Fidelio, David in Die Meistersinger von Nürnberg, and
Wenzel in Die verkaufte Braut. In many houses he tenor who sings these roles may also be asked to sing Almaviva or Nemorino. It is quite possible for a young Spieltenor to eventually
work into the lighter Lyrischertenor Fach, the deciding factor will be the beauty of the voice and is physical appearance.
Singers: Gerhard Unger, Peter Schreier.
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Pedrillo * Die Ent ührung aus dem Serail Frisch zum Kampfe!
David * Die Meistersinger von Nürnberg Weisen-Arie
Beppo Der Bajazzo (I Pagliacci) Ständchen (O Columbina, il tenero do Arlecchin)
(Almavia) Der Barbier von Sevilla Ecco, ridente in cielo
(Don Ferrando) Così fan tutte Un' aura amorosa
Franz Ho manns Erzählungen Tag und Nacht verteil ich mich
(Nemorino) Der Liebestrank Una furtiva lagrima
(L'elisir d'amore)
Mime Das Rheingold Wer halfet mir!
Wenzel Die verkaufte Braut Ma-mein, Mü-Mütterlein
Georg Der Wa enschmied Man wird ja einmal nur geboren
Monostatos Die Zauber öte Alles fühlt der Liebe freuden
LYRISCHER (HOHER) TENOR (c to c'')
Light Lyric Tenor
A supple, exible voice with a beautiful mellow quality and extended top range.
The Fach of Lyrischer Tenor can be often divide into two separate categories: the Lyrischertenor (a tenor leggiero) and the higher Italienischertenor (America's lyric tenor). In contract
negotiations however this is most often considered one Fach. Other problems arise with the term Italienischertenor as it is often reserved for the heavier Italian spinto, the German
Judendlicher-Heldentenor. The true Lyrischertenor must have a youthful, handsome appearance. His repertoire ranges from Nemorino to Faust and containing all the Mozart and
Rossini tenors, the lighter Verdi roles of like the Duke in Rigoletto and Alfredo in La Traviata and Rudolfo in La Bohème as well as a myriad of smaller roles. When the Fach is divided,
the Lyrischertenor takes the lighter roles and the Italienischertenor the heavier. The audition aria list has been divided into two parts but should be thought of as a whole as the singer
of the Lyrischertenor Fach is often required to sing all of the repertoire listed. For auditioning, choose your repertoire according to the weight of your voice, leaving o either the lighter
or heavier works as the case may be.
Singers: Francesco Araiza, Tito Schipa, Bruce Ford, Chris Merritt, Rockwell Blake, Frank Lopardo, and Stanford Olsen
Example: William Matteuzzi and Francesco Araiza: La Cenerentola
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Spinto Tenor
A metallic voice with noble tenoral quality, that can sing both lyric and dramatic passages.
This Fach is the dividing line between the lyric and dramatic tenor voice. It is quite conceivable that someone would sing all the roles of the Lyrischertenor Fach but it is unlikely that
anyone would sing both the Lyrischertenor and Jugendlicher-Heldentenor Fächer. The voice demanded is one which has great metal and ring, a secure top and a considerable amount
of staying power. This category includes the heavier Italian and French tenor roles of Radames in Aïda, Manrico in Der Troubador, Cavaradossi in Tosca, Don Jose in Carmen, and Canio
in I Pagliacci. The key to understanding the color and temperament of the Jugendlicher-Heldentenor is the role of Max in Der Freischütz. Jugendlicher-Heldentenor translates as
youthful heroic tenor which is an accurate de nition of this Fach as it indicates someone, who, like a good Max may well develop into a Tristan or Florestan. The color of the voice is
likely to be more slanted toward the German metallic singing than the Italian sound of the heavy spinto tenor. Both Walther in Die Meistersinger von Nürnberg and Lohengrin belong
to this Fach. There must be an implication of a potential God-character to the tenor singing many of these roles.
Singers: Nicolai Gedda, Franco Corelli, Enrico Caruso, Beniamino Gigli, Jussi Bjorling, Giuseppe di Stefano, Carlo Bergonzi, Franco Corelli, and the Americans Jan Peerce and Richard
Tucker, Luciano Pavarotti and Placido Domingo.
Examples: Nicolai Gedda: Oberon; Franco Corelli, Aida
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Dramatic Tenor
A large metallic voice with a baritonal quality with well developed middle and low registers.
Although many tenors of the Jugendlicher-Heldentenor Fach move on to sing the roles of the true Heldentenor, it remains a true specialty Fach that demands an impressive and
distinctive dramatic quality with plenty of size and metal and a commanding appearance.
Singers: Jon Vickers, Lauritz Melchior, Wolfgang Windgassen, James King, Siegfried Jerusalem, Gary Lakes and Ben Heppner.
Examples: Wolfgang Windgassen, Parsifal, Jon Vickers, Fidelio
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