The Deep River Boys were an American gospel music group active from the mid-1930s and into the 1980s. The group performed spirituals , gospel , and R&B .
91-606: The original group consisted of Harry Douglass ( baritone ), Vernon Gardner (first tenor ), George Lawson (second tenor) and Edward Ware ( bass ). George Lawson was replaced by Willie James (Jimmy) Lundy in 1950, who became first tenor, with Vernon Gardner switching to second tenor. Other personnel changes took place during the group's long history, although Douglass remained as a constant throughout. The group began at Hampton Institute, now known as Hampton University in Hampton, Virginia . Initial success came about through their winning
182-411: A "glottal stop" even if the vocal fold vibrations do not entirely stop. Other aspects of the voice, such as variations in the regularity of vibration, are also used for communication, and are important for the trained voice user to master, but are more rarely used in the formal phonetic code of a spoken language. The sound of each individual's voice is thought to be entirely unique not only because of
273-564: A Dramatic Baritone with greater ease in the upper tessitura (Verdi Baritone roles center approximately a minor third higher). Because the Verdi Baritone is sometimes seen as a subset of the Dramatic Baritone, some singers perform roles from both sets of repertoire. Similarly, the lower tessitura of these roles allows them frequently to be sung by bass-baritones. Dramatic baritone roles in opera: The baryton-noble baritone
364-702: A Rock" with the Count Basie Orchestra . In July, they also recorded a version of "Tuxedo Junction" with Erskine Hawkins , the composer of the tune. Then, they left for England where they embarked upon a 10-week engagement at the London Palladium . Whilst there they received a citation naming them as the "Most popular entertainers of American troops in England". Despite their success in England and in Canada, their records were not selling well in
455-650: A Wagner specialist, sang John when the opera reached the Met in 1907). Then, in 1925, Germany's Leo Schützendorf created the title baritone role in Alban Berg 's harrowing Wozzeck . In a separate development, the French composer Claude Debussy 's post-Wagnerian masterpiece Pelléas et Mélisande featured not one but two lead baritones at its 1902 premiere. These two baritones, Jean Périer and Hector Dufranne , possessed contrasting voices. (Dufranne – sometimes classed as
546-512: A bass-baritone – had a darker, more powerful instrument than did Périer, who was a true baryton-Martin.) Characteristic of the Wagnerian baritones of the 20th century was a general progression of individual singers from higher-lying baritone parts to lower-pitched ones. This was the case with Germany's Hans Hotter . Hotter made his debut in 1929. As a young singer he appeared in Verdi and created
637-508: A career lasting from 1935 to 1966, the Bolshoi 's Pavel Lisitsian . Dmitri Hvorostovsky and Sergei Leiferkus are two Russian baritones of the modern era who appear regularly in the West. Like Lisitsian, they sing Verdi and the works of their native composers, including Tchaikovsky's Eugene Onegin and The Queen of Spades . In the realm of French song, the bass-baritone José van Dam and
728-402: A certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register , the modal register , the falsetto register , and the whistle register . This view is also adopted by many vocal pedagogists. Vocal resonation is the process by which
819-417: A consistent manner. The most important communicative, or phonetic, parameters are the voice pitch (determined by the vibratory frequency of the vocal folds) and the degree of separation of the vocal folds, referred to as vocal fold adduction (coming together) or abduction (separating). The ability to vary the ab/adduction of the vocal folds quickly has a strong genetic component, since vocal fold adduction has
910-418: A distinguished, brighter-voiced Wagnerian rival during the 1960s, 70s, and 80s in the person of Thomas Stewart of America. Other notable post-War Wagnerian baritones have been Canada's George London , Germany's Hermann Uhde and, more recently, America's James Morris . Among the late-20th-century baritones noted throughout the opera world for their Verdi performances was Vladimir Chernov , who emerged from
1001-612: A hit on the UK Singles Chart with "That's Right", which reached number 29. In Europe, they were especially popular in countries such as Sweden and Norway from the 1950s and upwards, appearing on numerous TV shows, even releasing several hit singles performing songs in Swedish and Norwegian. In the winter of 1956, they were photographed by The Newcastle Journal with Rev. Eric L. Robinson, then minister of Central Methodist Church, Newcastle-on-Tyne , England. They returned to
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#17327912060291092-537: A large portion of all music (western popular music in particular) is based, may have its roots in the sound of the human voice during the course of evolution , according to a study published by the New Scientist . Analysis of recorded speech samples found peaks in acoustic energy that mirrored the distances between notes in the twelve-tone scale. There are many disorders that affect the human voice; these include speech impediments , and growths and lesions on
1183-408: A life-preserving function in keeping food from passing into the lungs, in addition to the covering action of the epiglottis. Consequently, the muscles that control this action are among the fastest in the body. Children can learn to use this action consistently during speech at an early age, as they learn to speak the difference between utterances such as "apa" (having an abductory-adductory gesture for
1274-563: A lyric baritone and with a darker quality. Its common range is from the G half an octave below low C to the G above middle C (G 2 to G 4 ). The dramatic baritone category corresponds roughly to the Heldenbariton in the German Fach system except that some Verdi baritone roles are not included. The primo passaggio and secondo passaggio of both the Verdi and dramatic baritone are at B ♭ and E ♭ respectively, hence
1365-413: A resonance added to the normal resonances of the vocal tract above the frequency range of most instruments and so enables the singer's voice to carry better over musical accompaniment. Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds , and possessing
1456-403: A singer or speaker is that the result of resonation is, or should be, to make a better sound. There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses. The twelve-tone musical scale , upon which
1547-615: A small sac between its two folds. The difference in vocal folds size between men and women means that they have differently pitched voices. Additionally, genetics also causes variances amongst the same sex, with men's and women's singing voices being categorized into types. For example, among men, there are bass , bass-baritone , baritone , baritenor , tenor and countertenor (ranging from E2 to C♯7 and higher ), and among women, contralto , alto , mezzo-soprano and soprano (ranging from F3 to C6 and higher). There are additional categories for operatic voices , see voice type . This
1638-495: A small but precious legacy of benchmark Handel recordings during the 1920s and 1930s. (Dawson, incidentally, acquired his outstanding Handelian technique from Sir Charles Santley.) Yet another Australian baritone of distinction between the wars was Harold Williams , who was based in the United Kingdom. Important British-born baritones of the 1930s and 1940s were Dennis Noble , who sang Italian and English operatic roles, and
1729-428: A subset of the Dramatic Baritone. Its common range is from the G below low C to the B ♭ above middle C (G 2 to B ♭ 4 ). A Verdi baritone refers to a voice capable of singing consistently and with ease in the highest part of the baritone range. It will generally have a lot of squillo . Verdi baritone roles in opera: The dramatic baritone is a voice that is richer, fuller, and sometimes harsher than
1820-783: A talent competition on the radio which, in turn, led to further radio and stage appearances. During World War II, they toured extensively for the USO entertaining US troops abroad. In 1952, their song "Recess in Heaven" became their first hit. They also toured with Bill "Bojangles" Robinson. In 1950, they left for Canada where they had a long engagement in Montreal. Upon return, they appeared on TV on The Ed Sullivan Show and The Milton Berle Show . They then left for another long engagement in Philadelphia. Early that year, they recorded "Solid as
1911-409: A tenor. Baryton-Martin roles in opera: The lyric baritone is a sweeter, milder sounding baritone voice, lacking in harshness; lighter and perhaps mellower than the dramatic baritone with a higher tessitura . Its common range is from the A below C 3 to the G above middle C (A 2 to G 4 ). It is typically assigned to comic roles. Lyric baritone roles in opera: The Kavalierbariton baritone
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#17327912060292002-548: A younger generation include Olaf Bär , Matthias Goerne , Wolfgang Holzmair and Johannes Sterkel (which are also performing or have performed regularly in opera), Thomas Quasthoff , Stephan Genz [ de ] and Christian Gerhaher . Well-known non-Germanic baritones of recent times have included the Italians Giorgio Zancanaro and Leo Nucci , the Frenchman François le Roux ,
2093-407: Is used to express emotion , and can also reveal the age and sex of the speaker. Singers use the human voice as an instrument for creating music . Adult men and women typically have different sizes of vocal fold; reflecting the male-female differences in larynx size. Adult male voices are usually lower-pitched and have larger folds. The male vocal folds (which would be measured vertically in
2184-714: Is French for "noble baritone" and describes a part that requires a noble bearing, smooth vocalisation and forceful declamation, all in perfect balance. This category originated in the Paris Opera , but it greatly influenced Verdi (Don Carlo in Ernani and La forza del destino ; Count Luna in Il trovatore ; Simon Boccanegra ) and Wagner as well ( Wotan ; Amfortas ). Similar to the Kavalierbariton. Baryton-noble roles in opera are: The bass-baritone range extends from
2275-422: Is a metallic voice that can sing both lyric and dramatic phrases, a manly, noble baritonal color. Its common range is from the A below low C to the G above middle C (A 2 to G 4 ). Not quite as powerful as the Verdi baritone who is expected to have a powerful appearance on stage, perhaps muscular or physically large. Kavalierbariton roles in opera: The Verdi baritone is a more specialized voice category and
2366-466: Is known as vocal resonation . Another major influence on vocal sound and production is the function of the larynx, which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers . The primary method for singers to accomplish this is through the use of the Singer's Formant , which has been shown to be
2457-415: Is not the only source of difference between male and female voice. Men, generally speaking, have a larger vocal tract , which essentially gives the resultant voice a lower-sounding timbre . This is mostly independent of the vocal folds themselves. Human spoken language makes use of the ability of almost all people in a given society to dynamically modulate certain parameters of the laryngeal voice source in
2548-404: Is often called the first true baritone role. However, Donizetti and Verdi in their vocal writing went on to emphasize the top fifth of the baritone voice, rather than its lower notes—thus generating a more brilliant sound. Further pathways opened up when the musically complex and physically demanding operas of Richard Wagner began to enter the mainstream repertory of the world's opera houses during
2639-438: Is realized that it is the change in the spectral qualities of the voice as abduction proceeds that is the primary acoustic attribute that the listener attends to when identifying a voiceless speech sound, and not simply the presence or absence of voice (periodic energy). An adductory gesture is also identified by the change in voice spectral energy it produces. Thus, a speech sound having an adductory gesture may be referred to as
2730-406: Is specifically a part of human sound production in which the vocal folds (vocal cords) are the primary sound source. (Other sound production mechanisms produced from the same general area of the body involve the production of unvoiced consonants , clicks , whistling and whispering .) Generally speaking, the mechanism for generating the human voice can be subdivided into three parts; the lungs,
2821-601: The Bayreuth Festival in the 1890s; Giuseppe Campanari ; Antonio Magini-Coletti ; Mario Ancona (chosen to be the first Silvio in Pagliacci ); and Antonio Scotti , who came to the Met from Europe in 1899 and remained on the roster of singers until 1933. Antonio Pini-Corsi was the standout Italian buffo baritone in the period between about 1880 and World War I , reveling in comic opera roles by Rossini, Donizetti and Paer , among others. In 1893, he created
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2912-450: The breathing tube (the illustration is out of date and does not show this well) while their inner edges or "margins" are free to vibrate (the hole). They have a three layer construction of an epithelium , vocal ligament, then muscle ( vocalis muscle ), which can shorten and bulge the folds. They are flat triangular bands and are pearly white in color. Above both sides of the vocal cord is the vestibular fold or false vocal cord , which has
3003-506: The fifth above the bass root) and to complete a chord. On the other hand, the baritone will occasionally find himself harmonizing above the melody, which calls for a tenor-like quality. Because the baritone fills the chord, the part is often not very melodic. Human voice The human voice consists of sound made by a human being using the vocal tract , including talking , singing , laughing , crying , screaming , shouting , humming or yelling . The human voice frequency
3094-594: The gramophone was invented early enough to capture on disc the voices of the top Italian Verdi and Donizetti baritones of the last two decades of the 19th century, whose operatic performances were characterized by considerable re-creative freedom and a high degree of technical finish. They included Mattia Battistini (known as the "King of Baritones"), Giuseppe Kaschmann (born Josip Kašman ) who, atypically, sang Wagner's Telramund and Amfortas not in Italian but in German, at
3185-428: The vocal folds . Talking improperly for long periods of time causes vocal loading , which is stress inflicted on the speech organs . When vocal injury is done, often an ENT specialist may be able to help, but the best treatment is the prevention of injuries through good vocal production. Voice therapy is generally delivered by a speech-language pathologist . Vocal nodules are caused over time by repeated abuse of
3276-567: The 19th century although, generally speaking, his operas were not revered to the same extent that they are today by music critics and audiences. Back then, baritones rather than high basses normally sang Don Giovanni – arguably Mozart's greatest male operatic creation. Famous Dons of the late 19th and early 20th centuries included Scotti and Maurel, as well as Portugal's Francisco D'Andrade and Sweden's John Forsell . The verismo baritone, Verdi baritone, and other subtypes are mentioned below, though not necessarily in 19th-century context. The dawn of
3367-992: The 20th century opened up more opportunities for baritones than ever before as a taste for strenuously exciting vocalism and lurid, "slice-of-life" operatic plots took hold in Italy and spread elsewhere. The most prominent verismo baritones included such major singers in Europe and America as the polished Giuseppe De Luca (the first Sharpless in Madama Butterfly ), Mario Sammarco (the first Gerard in Andrea Chénier ), Eugenio Giraldoni (the first Scarpia in Tosca ), Pasquale Amato (the first Rance in La fanciulla del West ), Riccardo Stracciari (noted for his richly attractive timbre ) and Domenico Viglione Borghese , whose voice
3458-575: The American-born but also Paris-based baritone of the 1920s, and 1930s Arthur Endreze . Also to be found singing Verdi roles at the Met, Covent Garden and the Vienna Opera during the late 1930s and the 1940s was the big-voiced Hungarian baritone, Sandor (Alexander) Sved . The leading Verdi baritones of the 1970s and 1980s were probably Italy's Renato Bruson and Piero Cappuccilli , America's Sherrill Milnes , Sweden's Ingvar Wixell and
3549-577: The Canadians Gerald Finley and James Westman and the versatile American Thomas Hampson , his compatriot Nathan Gunn and the Englishman Simon Keenlyside . The vocal range of the baritone lies between the bass and the tenor voice types . The baritone vocal range is usually between the second G below middle C (G 2 ) and the G above middle C (G 4 ). Composers typically write music for this voice in
3640-684: The Commandant in Richard Strauss's Friedenstag and Olivier in Capriccio . By the 1950s, however, he was being hailed as the top Wagnerian bass-baritone in the world. His Wotan was especially praised by critics for its musicianship. Other major Wagnerian baritones have included Hotter's predecessors Leopold Demuth , Anton van Rooy, Hermann Weil , Clarence Whitehill , Friedrich Schorr , Rudolf Bockelmann and Hans-Hermann Nissen . Demuth, van Rooy, Weil and Whitehill were at their peak in
3731-413: The F below low C to the F or F ♯ above middle C (F 2 to F 4 or F ♯ 4 ). Bass-baritones are typically divided into two separate categories: lyric bass-baritone and dramatic bass-baritone. Lyric bass-baritone roles in opera include: Dramatic bass-baritone roles in opera include: All of Gilbert and Sullivan 's Savoy operas have at least one lead baritone character (frequently
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3822-466: The London production in 1864 so that the leading baritone would have an aria. A couple of primitive cylinder recordings dating from about 1900 have been attributed by collectors to the dominant French baritone of the 1860s and 1870s, Jean-Baptiste Faure (1830–1914), the creator of Posa in Verdi's original French-language version of Don Carlos . It is doubtful, however, that Faure (who retired in 1886) made
3913-476: The Mozartian Roy Henderson . Both appeared often at Covent Garden. Prior to World War II, Germany's Heinrich Schlusnus, Gerhard Hüsch and Herbert Janssen were celebrated for their beautifully sung lieder recitals as well as for their mellifluous operatic performances in Verdi, Mozart, and Wagner respectively. After the war's conclusion, Hermann Prey and Dietrich Fischer-Dieskau appeared on
4004-879: The Priest of Dagon in Samson and Delilah , Escamillo in Carmen , Zurga in Les pêcheurs de perles , Lescaut in Manon , Athanael in Thaïs and Herod in Hérodiade . Russian composers included substantial baritone parts in their operas. Witness the title roles in Peter Tchaikovsky 's Eugene Onegin (which received its first production in 1879) and Alexander Borodin 's Prince Igor (1890). Mozart continued to be sung throughout
4095-486: The Romanian baritone Nicolae Herlea . At the same time, Britain's Sir Thomas Allen was considered to be the most versatile baritone of his generation in regards to repertoire, which ranged from Mozart to Verdi and lighter Wagner roles, through French and Russian opera, to modern English music. Another British baritone, Norman Bailey , established himself internationally as a memorable Wotan and Hans Sachs. However, he had
4186-797: The Spanish-speaking countries, the United States and the United Kingdom, and in Germany, where there was a major Verdi revival in Berlin between the wars. Outside the field of Italian opera, an important addition to the Austro-German repertory occurred in 1905. This was the premiere of Richard Strauss 's Salome , with the pivotal part of John the Baptist assigned to a baritone. (The enormous-voiced Dutch baritone Anton van Rooy ,
4277-481: The US, so they left their former record company, RCA , and signed for a smaller company, Beacon Records. However, even with the promotional efforts of Joe Davis, the owner of Beacon, their record sales were still disappointing, so they re-signed with RCA; despite this in 1954, they were back with Beacon. They also performed with Count Basie , Fats Waller , Charlie Christian and Thelma Carpenter . In December 1956, they had
4368-501: The actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body, especially the vocal tract, and the manner in which the speech sounds are habitually formed and articulated. (It is this latter aspect of the sound of the voice that can be mimicked by skilled performers.) Humans have vocal folds that can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of chest and neck,
4459-430: The basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation; although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by
4550-412: The bass-baritone. The baryton-Martin baritone (sometimes referred to as light baritone) lacks the lower G 2 –B 2 range a heavier baritone is capable of, and has a lighter, almost tenor-like quality. Its common range is from C 3 to the B above middle C (C 3 to B 4 ). Generally seen only in French repertoire, this Fach was named after the French singer Jean-Blaise Martin . Associated with
4641-416: The bass-baritone. 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 average male choral voice. Baritones took roughly the range as it is known today at
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#17327912060294732-902: The beginning of the 18th century, but they were still lumped in with their bass colleagues until well into the 19th century. Many operatic works of the 18th century have roles marked as bass that in reality are low baritone roles (or bass-baritone parts in modern parlance). Examples of this are to be found, for instance, in the operas and oratorios of George Frideric Handel . The greatest and most enduring parts for baritones in 18th-century operatic music were composed by Wolfgang Amadeus Mozart . They include Count Almaviva in The Marriage of Figaro , Guglielmo in Così fan tutte , Papageno in The Magic Flute and Don Giovanni . In theatrical documents, cast lists, and journalistic dispatches that from
4823-473: The beginning of the 19th century till the mid 1820s, the terms primo basso , basse chantante , and basse-taille were often used for men who would later be called baritones. These included the likes of Filippo Galli , Giovanni Inchindi , and Henri-Bernard Dabadie . The basse-taille and the proper bass were commonly confused because their roles were sometimes sung by singers of either actual voice part. The bel canto style of vocalism which arose in Italy in
4914-419: The best known Italian Verdi baritones of the 1920s and 1930s, Mariano Stabile , sang Iago and Rigoletto and Falstaff (at La Scala ) under the baton of Arturo Toscanini . Stabile also appeared in London, Chicago and Salzburg. He was noted more for his histrionic skills than for his voice, however. Stabile was followed by Tito Gobbi , a versatile singing actor capable of vivid comic and tragic performances during
5005-433: The comic principal). Notable operetta roles are: In barbershop music , the baritone part sings in a similar range to the lead (singing the melody) however usually singing lower than the lead. A barbershop baritone has a specific and specialized role in the formation of the four-part harmony that characterizes the style. The baritone singer is often the one required to support or "fill" the bass sound (typically by singing
5096-461: The cylinders. However, a contemporary of Faure's, Antonio Cotogni, (1831–1918)—probably the foremost Italian baritone of his generation—can be heard, briefly and dimly, at the age of 77, on a duet recording with the tenor Francesco Marconi . (Cotogni and Marconi had sung together in the first London performance of Amilcare Ponchielli 's La Gioconda in 1883, performing the roles of Barnaba and Enzo respectively.) There are 19th-century references in
5187-453: The differentiation is based more heavily on timbre and tessitura. Accordingly, roles that fall into this category tend to have a slightly lower tessitura than typical Verdi baritone roles, only rising above an F at the moments of greatest intensity. Many of the Puccini roles fall into this category. However, it is important to note that, for all intents and purposes, a Verdi Baritone is simply
5278-464: The early 19th century supplanted the castrato -dominated opera seria of the previous century. It led to the baritone being viewed as a separate voice category from the bass. Traditionally, basses in operas had been cast as authority figures such as a king or high priest; but with the advent of the more fluid baritone voice, the roles allotted by composers to lower male voices expanded in the direction of trusted companions or even romantic leads—normally
5369-722: The first Der Ring des Nibelungen cycle at Bayreuth , while Reichmann created Amfortas in Parsifal , also at Bayreuth. Lyric German baritones sang lighter Wagnerian roles such as Wolfram in Tannhäuser , Kurwenal in Tristan und Isolde or Telramund in Lohengrin . They made large strides, too, in the performance of art song and oratorio, with Franz Schubert favouring several baritones for his vocal music, in particular Johann Michael Vogl . Nineteenth-century operettas became
5460-677: The first famous American baritone appeared in the 1900s. It was the American-born but Paris-based Charles W. Clark who sang Italian, French and German composers. An outstanding group of virile-voiced American baritones appeared then in the 1920s. The younger members of this group were still active as recently as the late 1970s. Outstanding among its members were the Met-based Verdians Lawrence Tibbett (a compelling, rich-voiced singing actor), Richard Bonelli , John Charles Thomas , Robert Weede , Leonard Warren and Robert Merrill . They sang French opera, too, as did
5551-682: The first magnitude). Lassalle, Maurel and Renaud enjoyed superlative careers on either side of the Atlantic and left a valuable legacy of recordings. Five other significant Francophone baritones who recorded, too, during the early days of the gramophone/phonograph were Léon Melchissédec and Jean Noté of the Paris Opera and Gabriel Soulacroix , Henry Albers and Charles Gilibert of the Opéra-Comique. The Quaker baritone David Bispham , who sang in London and New York between 1891 and 1903,
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#17327912060295642-422: The former USSR to sing at the Met. Chernov followed in the footsteps of such richly endowed East European baritones as Ippolit Pryanishnikov (a favorite of Tchaikovski's), Joachim Tartakov (an Everardi pupil), Oskar Kamionsky (an exceptional bel canto singer nicknamed the "Russian Battistini"), Waclaw Brzezinski (known as the "Polish Battistini"), Georges Baklanoff (a powerful singing actor), and, during
5733-1012: The late 19th and early 20th centuries while Schorr, Bockelmann and Nissen were stars of the 1920s and 1930s. In addition to their heavyweight Wagnerian cousins, there was a plethora of baritones with more lyrical voices active in Germany and Austria during the period between the outbreak of WW1 in 1914 and the end of WW2 in 1945. Among them were Joseph Schwarz [ de ] , Heinrich Schlusnus , Herbert Janssen , Willi Domgraf-Fassbaender , Karl Schmitt-Walter and Gerhard Hüsch . Their abundant inter-war Italian counterparts included, among others, Carlo Galeffi , Giuseppe Danise , Enrico Molinari , Umberto Urbano , Cesare Formichi , Luigi Montesanto , Apollo Granforte , Benvenuto Franci , Renato Zanelli (who switched to tenor roles in 1924), Mario Basiola , Giovanni Inghilleri , Carlo Morelli (the Chilean-born younger brother of Renato Zanelli) and Carlo Tagliabue , who retired as late as 1958. One of
5824-508: The lighter-voiced Gérard Souzay have been notable. Souzay's repertoire extended from the Baroque works of Jean-Baptiste Lully to 20th-century composers such as Francis Poulenc . Pierre Bernac , Souzay's teacher, was an interpreter of Poulenc's songs in the previous generation. Older baritones identified with this style include France's Dinh Gilly and Charles Panzéra and Australia's John Brownlee . Another Australian, Peter Dawson , made
5915-526: The musical literature to certain baritone subtypes. These include the light and tenorish baryton-Martin, named after French singer Jean-Blaise Martin (1768/69–1837), and the deeper, more powerful Heldenbariton (today's bass-baritone) of Wagnerian opera. Perhaps the most accomplished Heldenbaritons of Wagner's day were August Kindermann , Franz Betz and Theodor Reichmann . Betz created Hans Sachs in Die Meistersinger and undertook Wotan in
6006-619: The non-Italian born baritones that were active in the third quarter of the 19th century, Tamburini's mantle as an outstanding exponent of Mozart and Donizetti's music was probably taken up most faithfully by a Belgian, Camille Everardi , who later settled in Russia and taught voice. In France, Paul Barroilhet succeeded Dabadie as the Paris opera's best known baritone. Like Dabadie, he also sang in Italy and created an important Donizetti role: in his case, Alphonse in La favorite (in 1840). Luckily,
6097-734: The northeast at least once more, in October 1958, and participated in a special noon-time church service, introducing Northumbrians to American gospel music. As late as the 1970s, they recorded a Norwegian-language version of the Norwegian hit song "Ratiti". The group continued to tour into the early 1980s. The last surviving early member of the group, Jimmy Lundy, lived in Portsmouth, Virginia and died in October 2007, in Maryview Hospital in Portsmouth , Virginia. Ronnie Bright
6188-400: The opposite diagram), are between 17 mm and 25 mm in length. The female vocal folds are between 12.5 mm and 17.5 mm in length. The folds are within the larynx . They are attached at the back (side nearest the spinal cord) to the arytenoids cartilages , and at the front (side under the chin) to the thyroid cartilage. They have no outer edge as they blend into the side of
6279-406: The p) as "aba" (having no abductory-adductory gesture). They can learn to do this well before the age of two by listening only to the voices of adults around them who have voices much different from their own, and even though the laryngeal movements causing these phonetic differentiations are deep in the throat and not visible to them. If an abductory movement or adductory movement is strong enough,
6370-511: The part of Ford in Verdi's last opera, Falstaff . Notable among their contemporaries were the cultured and technically adroit French baritones Jean Lassalle (hailed as the most accomplished baritone of his generation), Victor Maurel (the creator of Verdi's Iago, Falstaff and Tonio in Leoncavallo 's Pagliacci ), Paul Lhérie (the first Posa in the revised, Italian-language version of Don Carlos ), and Maurice Renaud (a singing actor of
6461-469: The position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect somewhat the sound produced by an individual. Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This
6552-746: The preserve of lightweight baritone voices. They were given comic parts in the tradition of the previous century's comic bass by Gilbert and Sullivan in many of their productions. This did not prevent the French master of operetta, Jacques Offenbach , from assigning the villain's role in The Tales of Hoffmann to a big-voiced baritone for the sake of dramatic effect. Other 19th-century French composers like Meyerbeer, Hector Berlioz , Camille Saint-Saëns , Georges Bizet and Jules Massenet wrote attractive parts for baritones, too. These included Nelusko in L'Africaine (Meyerbeer's last opera), Mephistopheles in La damnation de Faust (a role also sung by basses),
6643-543: The province of tenors. More often than not, however, baritones found themselves portraying villains. The principal composers of bel canto opera are considered to be: The prolific operas of these composers, plus the works of Verdi's maturity, such as Un ballo in maschera , La forza del destino , Don Carlos / Don Carlo , the revised Simon Boccanegra , Aida , Otello and Falstaff , blazed many new and rewarding performance pathways for baritones. Figaro in Il barbiere
6734-439: The range from the second F below middle C to the F above middle C (i.e. F 2 –F 4 ) in choral music, and from the second A below middle C to the A above middle C (A 2 to A 4 ) in operatic music. Within the baritone voice type category are seven generally recognized subcategories: baryton-Martin baritone (light baritone), lyric baritone, Kavalierbariton , Verdi baritone, dramatic baritone, baryton-noble baritone, and
6825-422: The range from the second F below middle C to the F above middle C (i.e. F 2 –F 4 ) in choral music, and from the second G below middle C to the G above middle C (G 2 to G 4 ) 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
6916-525: The rise of the baritone in the 19th century, Martin was well known for his fondness for falsetto singing, and the designation 'baryton Martin' has been used (Faure, 1886) to separate his voice from the 'Verdi Baritone', which carried the chest register further into the upper range. This voice type shares the primo passaggio and secondo passaggio with the Dramatic Tenor and Heldentenor (C 4 and F 4 respectively), and hence could be trained as
7007-399: The same quality. Registers originate in laryngeal functioning. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular Vocal range of pitches and produces certain characteristic sounds. The occurrence of registers has also been attributed to effects of the acoustic interaction between
7098-517: The scene to take their place. In addition to his interpretations of lieder and the works of Mozart, Prey sang in Strauss operas and tackled lighter Wagner roles such as Wolfram or Beckmesser. Fischer-Dieskau sang parts in 'fringe' operas by the likes of Ferruccio Busoni and Paul Hindemith as well as appearing in standard works by Verdi and Wagner. He earned his principal renown, however, as a lieder singer. Talented German and Austrian lieder singers of
7189-561: The second half of the 19th century. The major international baritone of the first half of the 19th century was the Italian Antonio Tamburini (1800–1876). He was a famous Don Giovanni in Mozart's eponymous opera as well as being a Bellini and Donizetti specialist. Commentators praised his voice for its beauty, flexibility and smooth tonal emission, which are the hallmarks of a bel canto singer. Tamburini's range, however,
7280-416: The vibrations of the vocal folds will stop (or not start). If the gesture is abductory and is part of a speech sound, the sound will be called voiceless . However, voiceless speech sounds are sometimes better identified as containing an abductory gesture, even if the gesture was not strong enough to stop the vocal folds from vibrating. This anomalous feature of voiceless speech sounds is better understood if it
7371-430: The vocal cords which results in soft, swollen spots on each vocal cord. These spots develop into harder, callous-like growths called nodules. The longer the abuse occurs the larger and stiffer the nodules will become. Most polyps are larger than nodules and may be called by other names, such as polypoid degeneration or Reinke's edema. Polyps are caused by a single occurrence and may require surgical removal. Irritation after
7462-432: The vocal fold oscillation and the vocal tract. The term register can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following: In linguistics , a register language is a language that combines tone and vowel phonation into a single phonological system. Within speech pathology , the term vocal register has three constituent elements:
7553-445: The vocal folds within the larynx (voice box), and the articulators. The lungs , the "pump" must produce adequate airflow and air pressure to vibrate vocal folds. The vocal folds (vocal cords) then vibrate to use airflow from the lungs to create audible pulses that form the laryngeal sound source. The muscles of the larynx adjust the length and tension of the vocal folds to 'fine-tune' pitch and tone . The articulators (the parts of
7644-513: The vocal tract above the larynx consisting of tongue , palate , cheek , lips , etc.) articulate and filter the sound emanating from the larynx and to some degree can interact with the laryngeal airflow to strengthen or weaken it as a sound source. The vocal folds, in combination with the articulators , are capable of producing highly intricate arrays of sound. The tone of voice may be modulated to suggest emotions such as anger , surprise , fear , happiness or sadness . The human voice
7735-463: The years of his prime in the 1940s, 1950s and early 1960s. He learned more than 100 roles in his lifetime and was mostly known for his roles in Verdi and Puccini operas, including appearances as Scarpia opposite soprano Maria Callas as Tosca at Covent Garden . Gobbi's competitors included Gino Bechi , Giuseppe Valdengo , Paolo Silveri , Giuseppe Taddei , Ettore Bastianini , Cesare Bardelli and Giangiacomo Guelfi . Another of Gobbi's contemporaries
7826-638: Was exceeded in size only by that of the lion-voiced Titta Ruffo . Ruffo was the most commanding Italian baritone of his era or, arguably, any other era. He was at his prime from the early 1900s to the early 1920s and enjoyed success in Italy, England and America (in Chicago and later at the Met). The chief verismo composers were Giacomo Puccini , Ruggero Leoncavallo, Pietro Mascagni , Alberto Franchetti , Umberto Giordano and Francesco Cilea . Verdi's works continued to remain popular, however, with audiences in Italy,
7917-488: Was probably closer to that of a bass-baritone than to that of a modern "Verdi baritone". His French equivalent was Henri-Bernard Dabadie, who was a mainstay of the Paris Opera between 1819 and 1836 and the creator of several major Rossinian baritone roles, including Guillaume Tell . Dabadie sang in Italy, too, where he originated the role of Belcore in L'elisir d'amore in 1832. The most important of Tamburini's Italianate successors were all Verdians. They included: Among
8008-688: Was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant". Baritone A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice-types . It is the most common male voice. The term originates from the Greek βαρύτονος ( barýtonos ), meaning "heavy sounding". Composers typically write music for this voice in
8099-569: Was the Welshman Geraint Evans , who famously sang Falstaff at Glyndebourne and created the roles of Mr. Flint and Mountjoy in works by Benjamin Britten . Some considered his best role to have been Wozzeck. The next significant Welsh baritone was Bryn Terfel . He made his premiere at Glyndebourne in 1990 and went on to build an international career as Falstaff and, more generally, in the operas of Mozart and Wagner. Perhaps
8190-696: Was the bass of the Deep River Boys from 1964 until 1968. After leaving the group, he joined the Coasters . He died in 2015. Eddie Whaley Jr. (the son of Eddie Whaley of the comedy duo Scott and Whaley ), the last surviving member of the Deep River Boys, was tenor from 1969 until 1971. He was born in Brighton , England, had a role as a child in the film Black Narcissus , and now lives in Florida. In 2019, their 1941 single "They Look Like Men of War"
8281-604: Was the leading American male singer of this generation. He also recorded for the gramophone. The oldest-born star baritone known for sure to have made solo gramophone discs was the Englishman Sir Charles Santley (1834–1922). Santley made his operatic debut in Italy in 1858 and became one of Covent Garden's leading singers. He was still giving critically acclaimed concerts in London in the 1890s. The composer of Faust , Charles Gounod , wrote Valentine's aria "Even bravest heart" for him at his request for
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