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Tenor
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. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word '' tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the enor was thestructurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts. All other voices were ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor Voice Range On Keyboard
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. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word '' tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the enor was thestructurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts. All other voices were normall ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Countertenor
A countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G3 to D5 or E5, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C4 to C6.A sopranist is a term used to describe a countertenor whose vocal range is so high it is equivalent to that of a soprano; however, this term is widely used falsely. Countertenors often are baritones or tenors at core, but only on rare occasions do they use their lower vocal range, instead preferring their falsetto or high head voice. The nature of the countertenor voice has radically changed throughout musical history, from a modal voice, to a modal and falsetto voice, to the primarily falsetto voice which is denoted by the term today. This is partly because of changes in human physiology and partly because of fluctuations in pitch. The term first came i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contratenor
A countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G3 to D5 or E5, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C4 to C6.A sopranist is a term used to describe a countertenor whose vocal range is so high it is equivalent to that of a soprano; however, this term is widely used falsely. Countertenors often are baritones or tenors at core, but only on rare occasions do they use their lower vocal range, instead preferring their falsetto or high head voice. The nature of the countertenor voice has radically changed throughout musical history, from a modal voice, to a modal and falsetto voice, to the primarily falsetto voice which is denoted by the term today. This is partly because of changes in human physiology and partly because of fluctuations in pitch. The term first came in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice Type
A voice type is a group of voices with similar vocal ranges, capable of singing in a similar tessitura, and with similar vocal transition points ('' passaggi''). Voice classification is most strongly associated with European classical music, though it, and the terms it utilizes, are used in other styles of music as well. A singer will choose a repertoire that suits their voice. Some singers such as Enrico Caruso, Rosa Ponselle, Joan Sutherland, Maria Callas, Jessye Norman, Ewa Podleś, and Plácido Domingo have voices that allow them to sing roles from a wide variety of types; some singers such as Shirley Verrett and Grace Bumbry change type and even voice part over their careers; and some singers such as Leonie Rysanek have voices that lower with age, causing them to cycle through types over their careers. Some roles are hard to classify, having very unusual vocal requirements; Mozart wrote many of his roles for specific singers who often had remarkable voices, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opera
Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Although musical theatre is closely related to opera, the two are considered to be distinct from one another. Opera is a key part of the Western classical music tradition. Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as ''Singspiel'' and ''Opéra comique''. In traditional number opera, singers employ two styles o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baritone
A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice-types. The term originates from the Greek (), meaning "heavy sounding". Composers typically write music for this voice in the range from the second F below middle C to the F above middle C (i.e. F2–F4) in choral music, and from the second A below middle C to the A above middle C (A2 to A4) in operatic music, but the range can extend at either end. Subtypes of baritone include the baryton-Martin baritone (light baritone), lyric baritone, ''Kavalierbariton'', Verdi baritone, dramatic baritone, ''baryton-noble'' baritone, and the bass-baritone. History The first use of the term "baritone" emerged as ''baritonans'', late in the 15th century, usually in French sacred polyphonic music. At this early stage it was frequently used as the lowest of the voices (including the bass), but in 17th-century Italy the term was all-encompassing and used to describe the ave ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Juive
''La Juive'' () (''The Jewess'') is a grand opera in five acts by Fromental Halévy to an original French libretto by Eugène Scribe; it was first performed at the Opéra, Paris, on 23 February 1835. Composition history ''La Juive'' was one of the most popular and admired operas of the 19th century. Its libretto (text) was the work of Eugène Scribe, the prolific dramatic author. Scribe was writing to the tastes of the Opéra de Paris, where the work was first performed – a work in five acts presenting spectacular situations (here the Council of Constance of 1414), which would allow a flamboyant staging in a setting which brought out a dramatic situation which was also underlined by a powerful historical subject. In addition to this, there could be choral interludes, ballet and scenic effects which took advantage of the entire range of possibilities available at the Paris Opera. Because of the story of an impossible love between a Christian man and a Jewish woman, the wor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vocal Range
Vocal range is the range of pitches that a human voice can phonate. A common application is within the context of singing, where it is used as a defining characteristic for classifying singing voices into voice types. It is also a topic of study within linguistics, phonetics, and speech-language pathology, particularly in relation to the study of tonal languages and certain types of vocal disorders, although it has little practical application in terms of speech. Singing and the definition of vocal range While the broadest definition of "vocal range" is simply the span from the lowest to the highest note a particular voice can produce, this broad definition is often not what is meant when "vocal range" is discussed in the context of singing. Vocal pedagogists tend to define the vocal range as the total span of "musically useful" pitches that a singer can produce. This is because some of the notes a voice can produce may not be considered usable by the singer within performa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Salome (opera)
''Salome'', Opus number, Op. 54, is an opera in one act by Richard Strauss. The libretto is Hedwig Lachmann's German translation of the 1891 French play ''Salome (play), Salomé'' by Oscar Wilde, edited by the composer. Strauss dedicated the opera to his friend Edgar Speyer, Sir Edgar Speyer. The opera is famous (at the time of its premiere, infamous) for its "Dance of the Seven Veils". The final scene is frequently heard as a concert-piece for dramatic sopranos. Composition history Oscar Wilde originally wrote his ''Salomé'' in French. Strauss saw the Lachmann version of the play in Max Reinhardt's production at the Kleines Theater in Berlin on 15 November 1902, and immediately set to work on an opera. The play's formal structure was well-suited to musical adaptation. Wilde himself described ''Salomé'' as containing "refrains whose recurring ''motifs'' make it so like a piece of music and bind it together as a ballad". Strauss pared down Lachmann's German text to what he saw ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andrea Nozzari
Andrea Nozzari (27 February 1776 – 12 December 1832) was an Italian tenor. Nozzari was born in Vertova and studied in Bergamo and Rome. He is notable for the principal roles written for him by Gioachino Rossini and mostly premiered in Domenico Barbaia's theatres in Naples. These were: *Leicester in ''Elisabetta, regina d'Inghilterra'' (1815) *Otello in ''Otello'' (1816) *Rinaldo in ''Armida'' (1817) *Osiride in ''Mosè in Egitto'' (1818) *Agorante in ''Ricciardo e Zoraide'' (1818) *Pirro in ''Ermione'' (1819) *Rodrigo in ''La donna del lago'' (1819) *Paolo Erisso in ''Maometto II'' (1820) *Antenore in ''Zelmira'' (1822) He also premièred the title roles in Giovanni Pacini's '' Alessandro nelle Indie'' (1824) and Donizetti's '' Alfredo il grande'', and roles in operas by Michele Carafa, Manuel García, Johann Simon Mayr, Saverio Mercadante, Nicola Antonio Manfroce and Stefano Pavesi. Nozzari's voice had a baritonal quality, and his intense acting was much valued by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Der Ring Des Nibelungen
(''The Ring of the Nibelung''), WWV 86, is a cycle of four German-language epic music dramas composed by Richard Wagner. The works are based loosely on characters from Germanic heroic legend, namely Norse legendary sagas and the ''Nibelungenlied''. The composer termed the cycle a "Bühnenfestspiel" (stage festival play), structured in three days preceded by a ("preliminary evening"). It is often referred to as the ''Ring'' cycle, Wagner's ''Ring'', or simply ''The Ring''. Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four parts that constitute the ''Ring'' cycle are, in sequence: * ''Das Rheingold'' (''The Rhinegold'') * ''Die Walküre'' (''The Valkyrie'') * ''Siegfried'' * ''Götterdämmerung'' (''Twilight of the Gods'') Individual works of the sequence are often performed separately, and indeed the operas contain dialogues that mention events in the previous operas, so that a viewer could watch any of them without ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vincenzo Bellini
Vincenzo Salvatore Carmelo Francesco Bellini (; 3 November 1801 – 23 September 1835) was a Sicilian opera composer, who was known for his long-flowing melodic lines for which he was named "the Swan of Catania". Many years later, in 1898, Giuseppe Verdi "praised the broad curves of Bellini's melody: 'there are extremely long melodies as no-one else had ever made before'." A large amount of what is known about Bellini's life and his activities comes from surviving letters—except for a short period—which were written over his lifetime to his friend Francesco Florimo, whom he had met as a fellow student in Naples and with whom he maintained a lifelong friendship. Other sources of information come from correspondence saved by other friends and business acquaintances. Bellini was the quintessential composer of the Italian ''bel canto'' era of the early 19th century, and his work has been summed up by the London critic Tim Ashley as: ... also hugely influential, as much a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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