Voice type

Female voices Soprano Mezzo-soprano Contralto Male voices Countertenor Tenor Baritone Bass

The tenor is a type of male singing voice and is the highest male voice within the modal register. The tenor voice (in choral music) lies between C₃, the C one octave below middle C, and (A₄), the A above middle C. In solo work, this range extends up to (C₅), or "tenor high C." The low extreme for tenors is roughly B♭2 (two B♭s below middle C). At the highest extreme, some tenors can sing up to two Fs above middle C (F₅).^[1]

The term tenor is also applied to instruments, such as the tenor saxophone, to indicate their range in relation to other instruments of the same group.

Within opera, the lowest note in the standard tenor repertoire is A₂ (Mime, Herod), but few roles fall below C₃. The high extreme: a few tenor roles in the standard repertoire call for a "tenor C" (C₅, one octave above middle C). Some (if not all) of the few top Cs in the standard operatic repertoire are either optional (such as in "Che gelida manina" in Puccini's La bohème) or interpolated (added) by tradition (such as in "Di quella pira" from Verdi's Il trovatore). However, the highest demanded note in the standard tenor operatic repertoire is D₅ ("Mes amis, écoutez l'histoire", from Adolph Adams' Le postillon de Lonjumeau). Some operatic roles for tenors require a darker timbre and fewer high notes. In the leggero repertoire the highest note is F₅ (Arturo in "Credeasi, misera" from Bellini's I puritani),^[2] therefore, very few tenors can have this role in their repertoire.^[3] A shift in pitch since the mid 19th century means that the few written top Cs (such as in "Salut demeure" from Gounod's Faust) would have in fact demanded a note at least a semitone lower than today's standard pitch.

Within musical theatre, most tenor roles are written between B♭₂ and A4, especially the romantic leads, although some fall as low as A♭₂ and others as high as G₅.

Contents 1 Origin of the term 2 Tenor in choral music 3 Other uses 4 Tenor voice classification 4.1 Leggero tenor 4.2 Lyric tenor 4.3 Spinto tenor 4.4 Dramatic tenor 4.5 Heldentenor 4.6 Mozart tenor 4.7 Tenor buffo or Spieltenor 5 Operetta 6 See also 7 References

  Origin of the term

The name "tenor" derives from the Latin word tenere, which means "to hold". In medieval and Renaissance polyphony between about 1250 and 1500,^{[citation needed]} the tenor was the structurally fundamental (or 'holding') voice, vocal or instrumental. All other voices were normally calculated in relation to the tenor, which often proceeded in longer note values and carried a borrowed Cantus firmus melody. Until the late 15th century introduction of the contratenor bassus, the tenor was usually the lowest voice, assuming the role of providing a harmonic foundation. It was also in the 15th century that "tenor" came to signify the male voice that sang such parts. Thus, for earlier repertoire, a line marked 'tenor' indicated the part's role, and not the required voice type. Indeed, even as late as the eighteenth century, partbooks labelled 'tenor' might contain parts for a range of voice types.^[4]

  Tenor in choral music

In four-part choral music, the tenor is the second lowest voice, above the bass and below the soprano and alto. While certain choral music does require the first tenors to ascend the full tenor range, the majority of choral music places the tenors in the range from approximately B₂ up to A₄. The requirements of the tenor voice in choral music are also tied to the style of music most often performed by a given choir. Orchestra choruses require tenors with fully resonant voices, but chamber or a cappella choral music (sung with no instrumental accompaniment) can rely on light baritones singing in falsetto.^[5]

Even so, one nearly ubiquitous facet of choral singing is the shortage of tenor voices.^[6][7][8] Most men tend to have baritone voices and for this reason the majority of men tend to prefer singing in the bass section of a choir (however, true basses are even rarer than tenors). Some men are asked to sing tenor even if they lack the full range, and sometimes low altos are asked to sing the tenor part.^[5] The late 19th century saw the emergence of male choirs or TTBB (Tenor1, Tenor2, Bass1, Bass2). In the USA these are sometimes called Glee Clubs. The Welsh choirs are perhaps the best personification of this type of choir. Male Choirs sing specially written music for male choirs, music adapted from mixed sex choirs and in most genres including classical, sacred, popular and show. Male choirs differ from Barbershop choirs in that they are usually accompanied, often by but not restricted to a piano. Male choirs are often larger than the Barbershop style partly because the foundation of the Barbershop style is the solo quartet sound. In Male Choirs, tenors will often sing both in chest tone and falsetto. As a result, a male choir has a wider pitch range than one consisting only of females. Some examples of male choirs are: The Morriston Orpheus Welsh Male Voice Choir, the Sydney Male Choir and the Treorchy Male Choir. There are some impressive male ensembles in the Russian Orthodox Church choral tradition and also there are some excellent Jewish ensembles. The UK's largest male voice choir, the London Gay Men's Chorus, for example, exhibits an extraordinary pitch range from counter tenor to basso profundo.

  Other uses

There are four parts in Barbershop harmony: bass, baritone, lead, and tenor (lowest to highest), with "tenor" referring to the highest part. The tenor generally sings in falsetto voice, corresponding roughly to the countertenor in classical music, and harmonizes above the lead, who sings the melody. The barbershop tenor range is B♭-below-middle C (B♭₃) to D-above-high C (D₅), though it is written an octave lower. The "lead" in barbershop music is equivalent to the normal tenor range.^[9]

In bluegrass music, the melody line is called the lead. Tenor is sung an interval of a third above the lead. Baritone is the fifth of the scale that has the lead as a tonic, and may be sung below the lead, or even above the lead (and the tenor), in which case it is called "high baritone."^[10]

Though strictly not musical, the Muslim call to prayer (azan) is always chanted by tenors, possibly due to the highly placed resonance of the tenor voice which allows it to be heard from a longer distance than baritones or basses during pre-amplification times. Some such chanters (termed bilals) may modulate up to E₃ in certain passages, while incorporating a distinctive Middle-Eastern coloratura run.

  Tenor voice classification

Within choral and pop music, singers are classified into voice parts based almost solely on vocal range with little consideration for other qualities in the voice. Within classical solo singing, however, a person is classified as a tenor through the identification of several vocal traits, including range, vocal timbre, vocal weight, vocal tessitura, vocal resonance, and vocal transition points (lifts or "passaggio") within the singer's voice. These different traits are used to identify different sub-types within the tenor voice sometimes referred to as fächer (sg. fach, from German Fach or Stimmfach, "vocal category"). Within opera, particular roles are written with specific kinds of tenor voices in mind, causing certain roles to be associated with certain kinds of voices.^[11]

Here follows the operatic tenor fächer, with examples of the roles from the standard repertory that they commonly sing. It should be noted that there is considerable overlap between the various categories of role and of voice-type; and that some singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors. (Enrico Caruso is a prime example of this kind of vocal development.) It must be said that in the operatic canon the highest top note generally written by composers is B. Top Cs are rare (they are either given as oppure that is, up to the singer to interpolate or are traditional additions). An ability to sing C and above, therefore, is musically superfluous. Indeed, many famous tenors never even attempted C at least on record—for example, in Caruso's 1906 recording of "Che gelida manina", the whole aria is transposed to avoid the oppure top C. This is a normal transposition.

  Leggero tenor

Also known as the "tenore di grazia", the leggero tenor is essentially the male equivalent of a lyric coloratura. This voice is light, agile, and capable of executing difficult passages of fioritura. The typical leggero tenor possesses a range spanning from approximately C₃ to D₅, with a few being able to sing up to F₅ or higher in full voice. In some cases, the chest register of the leggero tenor may extend below C₃. Voices of this type are utilized frequently in the operas of Rossini, Donizetti, Bellini and in music dating from the Baroque period.

Leggero tenor roles in operas:^[3]

Arnold, William Tell (Rossini) Arturo, I puritani (Bellini) Count Almaviva, The Barber of Seville (Rossini) Ernesto, Don Pasquale (Donizetti) Elvino, La sonnambula (Bellini) Lindoro, L'italiana in Algeri (Rossini) Don Ramiro, La Cenerentola (Rossini) Tonio, La fille du régiment (Donizetti)

Notable leggero tenor singers include:

John Aler Luigi Alva Rockwell Blake Lawrence Brownlee

Juan Diego Flórez Raúl Giménez John van Kesteren Nicola Monti

William Matteuzzi Léopold Simoneau Ferruccio Tagliavini Cesare Valletti

  Lyric tenor

A warm graceful voice with a bright, full timbre that is strong but not heavy and can be heard over an orchestra. Lyric tenors have a range from approximately the C one octave below middle C (C₃) to the D one octave above middle C (D₅) with some able to sing up to E♭₅ and higher. Similarly, their lower range may extend a few notes below the C₃. There are many vocal shades to the lyric tenor group, repertoire should be selected according to the weight, colors, and abilities of the voice.

Lyric tenor roles in operas:^[3]

Alfredo, La traviata (Verdi) Chevalier, Dialogues of the Carmelites (Poulenc) David, Die Meistersinger von Nürnberg (Wagner) Il Duca di Mantova, Rigoletto (Verdi) Edgardo, Lucia di Lammermoor (Donizetti) Faust, Faust (Gounod) Fenton, Falstaff (Verdi) Hoffmann, The Tales of Hoffmann (Offenbach)

Lensky, Eugene Onegin (Tchaikovsky) Oronte, I Lombardi alla prima crociata (Verdi) Paris, La belle Hélène (Offenbach) Pinkerton, Madama Butterfly (Puccini) Rinuccio, Gianni Schicchi (Puccini) Rodolfo, La bohème (Puccini) Roméo, Roméo et Juliette (Gounod) Werther, Werther (Massenet) Wilhelm Meister, Mignon (Thomas)

Notable lyric tenor singers include:

Giacomo Aragall Evgeny Belyaev Jussi Björling Alessandro Bonci José Carreras Richard Crooks Giuseppe Di Stefano Salvatore Fisichella Miguel Fleta Nicolai Gedda

Ernst Haefliger Ivan Kozlovsky Alfredo Kraus Sergei Lemeshev Luis Lima John McCormack Francesco Marconi Luciano Pavarotti Alfred Piccaver Mario Filippeschi Jacques Pottier

Gianni Raimondi Dmitri Smirnov Leonid Sobinov Tito Schipa Richard Tauber Joseph Schmidt Alain Vanzo Ramón Vargas Rolando Villazón Fritz Wunderlich

  Spinto tenor

This voice has the brightness and height of a lyric tenor, but with a heavier vocal weight enabling the voice to be "pushed" to dramatic climaxes with less strain than the lighter-voice counterparts. (They are also known as "lyric-dramatic" tenors.) Spinto tenors have a darker timbre than a lyric tenor, without having a vocal color as dark as many (not all) dramatic tenors. The German equivalent of the Spinto fach is the Jugendlicher Heldentenor and encompasses many of the Dramatic tenor roles as well as some Wagner roles such as Lohengrin and Stolzing. The difference is often the depth and metal in the voice where some lyric tenors age or push their way into singing as a Spinto giving them a lighter tone and Jugendlicher Heldentenors tend to be either young heldentenors or true lyric dramatic voices giving them a dark dramatic tenor like tone. Spinto tenors have a range from approximately the C one octave below middle C (C₃) to the C one octave above middle C (C₅).

Spinto tenor roles in operas:^[3]

Andrea Chénier, Andrea Chénier (Giordano) Calaf, Turandot (Puccini) Canio, Pagliacci (Leoncavallo) Des Grieux, Manon Lescaut (Puccini) Don Carlo, Don Carlos (Verdi) Don José, Carmen (Bizet) Erik, Der Fliegende Holländer (Wagner) Ernani, Ernani (Verdi) Hermann, Queen of Spades (Tchaikovsky) Macduff, Macbeth (opera) (Verdi)

Manrico, Il trovatore (Verdi) Mario Cavaradossi, Tosca (Puccini) Max, Der Freischütz (Weber) Pollione Norma (Bellini) Radames Aida (Verdi) Stiffelio Stiffelio (Verdi) Gustavo, Un ballo in maschera (Verdi) Turiddu, Cavalleria rusticana (Mascagni)

Notable spinto tenor singers include:

Peter Anders Daniele Barioni Carlo Bergonzi Franco Corelli Plácido Domingo

Beniamino Gigli Giacomo Lauri-Volpi Francesco Merli Giovanni Martinelli Aureliano Pertile

Vyacheslav Polozov Georges Thill Richard Tucker

  Dramatic tenor

Also "tenore di forza" or "robusto" – an emotive, ringing and very powerful, clarion, heroic tenor sound. The dramatic tenor has an approximate range from the C one octave below middle C (C3) to the C one octave above middle C (C5).^[3] Many successful dramatic tenors have historically avoided the coveted high C in performance. Their lower range tends to extend into the baritone tessitura or, a few notes below the C3, even down to A♭2. Some dramatic tenors have a rich and dark tonal colour to their voice (such as the mature Enrico Caruso) while others (like Francesco Tamagno) possess a bright, steely timbre.

Dramatic tenor roles in operas:^[3]

Canio, Pagliacci (Leoncavallo) Dick Johnson, La fanciulla del West (Puccini) Don Alvaro, La forza del destino (Verdi) Florestan, Fidelio (Beethoven)

Enée, Les Troyens (Berlioz) Otello, Otello (Verdi) Peter Grimes, Peter Grimes (Britten) Samson, Samson et Dalila (Saint-Saëns)

Notable dramatic tenor singers include:

Franco Bonisolli Enrico Caruso Léon Escalais Giuseppe Giacomini

Mario Del Monaco James McCracken Jean de Reszke

Francesco Tamagno Ramón Vinay Giovanni Zenatello

  Heldentenor

A rich, dark, powerful and dramatic voice. As its name implies, the Heldentenor (English: heroic tenor) vocal fach features in the German romantic operatic repertoire. The Heldentenor is the German equivalent of the tenore drammatico, however with a more baritonal quality: the typical Wagnerian protagonist. The keystone of the heldentenor's repertoire is arguably Wagner's Siegfried, an extremely demanding role requiring a wide vocal range and great power, plus tremendous stamina and acting ability. Often the heldentenor is a baritone who has transitioned to this fach or tenors who have been misidentified as baritones. Therefore the heldentenor voice might or might not have facility up to high B or C. The repertoire, however, rarely calls for such high notes. A Heldentenor is sometimes less a true tenor than a baritone with an unusually strong top register. Lauritz Melchior epitomises the Heldentenor sound in this regard.

Heldentenor roles in operas:^[3]

Florestan, Fidelio (Beethoven) Tannhäuser, Tannhäuser (Wagner) Lohengrin, Lohengrin (Wagner) Loge, Das Rheingold (Wagner) Siegmund, Die Walküre (Wagner) Siegfried, Siegfried (Wagner) Siegfried, Götterdämmerung (Wagner) Walther von Stolzing, Die Meistersinger von Nürnberg (Wagner) Tristan, Tristan und Isolde (Wagner) Parsifal, Parsifal (Wagner)

Herod, Salome (Strauss) Aegisth, Elektra (Strauss) Bacchus, Ariadne auf Naxos (Strauss) The Emperor, Die Frau ohne Schatten (Strauss) Menelaus, Die ägyptische Helena (Strauss) Apollo, Daphne (Strauss) Drum Major, Wozzeck (Berg) Paul, Die tote Stadt (Korngold) The Stranger, Das Wunder der Heliane (Korngold)

Notable Heldentenor singers include:

Bernd Aldenhoff Giuseppe Borgatti Hans Beirer Karel Burian Richard Cassilly Wilhelm Elsner Peter Hofmann Hans Hopf Siegfried Jerusalem

James King Heinrich Knote René Kollo Ernst Kraus Max Lorenz Lauritz Melchior Albert Niemann Ticho Parly Ludwig Schnorr von Carolsfeld

Ludwig Suthaus Set Svanholm Jess Thomas Josef Tichatschek Jacques Urlus Jon Vickers Franz Völker Wolfgang Windgassen Klaus Florian Vogt

  Mozart tenor

In Mozart singing, the most important element is the instrumental approach of the vocal sound which implies: flawless and slender emission of sound, perfect intonation, legato, diction and phrasing, capability to cope with the dynamic requirements of the score, beauty of timbre, secure line of singing through perfect support and absolute breath control, musical intelligence, body discipline, elegance, nobility, agility and ability for dramatic expressiveness within the narrow borders imposed by the strict Mozart style, being this Mozart style the most important requirement to fulfill.

The German Mozart tenor tradition goes back to end of the 1920s when Mozart tenors started making use of Caruso's technique to achieve and improve the required dynamics and dramatic expressiveness.

Mozart tenor roles in Mozart Operas:^[3]

Spirit of Christianity, Die Schuldigkeit des ersten Gebots Oebalus, Apollo et Hyacinthus Bastien, Bastien und Bastienne Fracasso, La finta semplice Mitridate, Mitridate, re di Ponto Aceste, Ascanio in Alba Scipione, Il sogno di Scipione Lucio Silla, Lucio Silla

Don Anchise, La finta giardiniera Alessandro, Il re pastore Idomeneo, Idamante, Idomeneo Belmonte, Die Entführung aus dem Serail Don Ottavio, Don Giovanni Ferrando, Così fan tutte Tito, La clemenza di Tito Tamino, The Magic Flute

Mozart tenor reference singers include:

• Francisco Araiza^[12][13][14]
• Anton Dermota^[15][16]
• Peter Schreier^[17][18]
• Gösta Winbergh^[19][20]
• Fritz Wunderlich^[21][22]

  Tenor buffo or Spieltenor

A tenor with good acting ability, and the ability to create distinct voices for his characters. This voice specializes in smaller comic roles. The range of the tenor buffo is from the C one octave below middle C (C₃) to the C one octave above middle C (C₅). The tessitura of these parts lies lower than the other tenor roles. These parts are often played by younger tenors who have not yet reached their full vocal potential or older tenors who are beyond their prime singing years. Only rarely will a singer specialize in these roles for an entire career.^[3] In French opéra comique, supporting roles requiring a thin voice but good acting are sometimes described as 'trial', after the singer Antoine Trial (1737–1795), examples being in the operas of Ravel and in The Tales of Hoffmann.^[23]

Tenor buffo or Spieltenor roles in operas:^[3]

Count Danilo Danilovitsch, The Merry Widow (Lehár) Don Basilio, The Marriage of Figaro (Mozart) Mime, Siegfried (Wagner) Don Anchise/ Il Podestà, La finta giardiniera (Mozart) Monostatos, The Magic Flute (Mozart) Pedrillo, Die Entführung aus dem Serail (Mozart) Slender, The Merry Wives of Windsor (opera) (Nicolai) John Styx, Orpheus in the Underworld (Offenbach) Prince Paul, La Grande-Duchesse de Gérolstein (Offenbach) Kálmán Zsupán, The Gypsy Baron (Strauss II)

The Captain, Wozzeck (Berg) The Magician, The Consul (Menotti) Beppe, Pagliacci (Leoncavallo) Frantz, The Tales of Hoffmann (Offenbach) Spoletta, Tosca (Puccini) Goro, Madama Butterfly (Puccini) Pong, Turandot (Puccini) Gastone, La traviata (Verdi) Gherardo, Gianni Schicchi (Puccini) King Kaspar, Amahl and the Night Visitors (Menotti)

Notable tenor buffo or Spieltenor singers include:

Charles Anthony Nico Castel Graham Clark

Piero de Palma Anthony Laciura Michel Sénéchal

Darren Keith Woods Heinz Zednik Gerhard Stolze

  Operetta

All of the Gilbert and Sullivan operettas have at least one lead lyric tenor character; other notable roles are:

• Candide, (Candide)
• Eisenstein, (Die Fledermaus)
• Camille, Count de Rosillon, (The Merry Widow)
• Prince Karl, (The Student Prince)
• Captain Dick, (Naughty Marietta)

  See also

• List of tenors in non-classical music

  References