Singing blue blues in a low, bass voice. Texts of children's poems and songs used in the blog

There are four main choral parts (voices) in the choir:

SOPRANO(female high) - S (Soprano)

ALTO(female low) - A (Alt, Alto)

TENOR(male high) - T (Tenor)

BASS(male low) - B (Bass)

In turn, each of these voices can be divided into several more, then this will be called division (divisi) - see the section Choral terms. And they will be called, for example, first sopranos and second sopranos, first basses and second basses, etc.

Women's(from top to bottom): coloratura soprano, lyric-coloratura soprano, lyric soprano, dramatic soprano, mezzo-soprano, contralto)

Men's(from top to bottom): tenor, baritone, bass. Each of them can have varieties.

Below we will look at each of the voices separately. For each voice, the sound range is also indicated. Because This question interests many choir artists, so we have also included this data in a separate table. But at the same time, I would like to draw attention to the fact that these ranges are more applicable to professional singers than to amateurs.

In our terminological dictionary, we did not allow ourselves to give all the meanings of words. We consider the meanings of the word only from the vocal or choral sense (for example, the word Viola can also mean a bowed instrument of the violin family - these are the meanings of words that we immodestly allowed ourselves to omit)

So, here's our little terminology guide to voices. The terms are arranged alphabetically.

ALTO(Latin altus - high; in Middle Ages music it was performed above the tenor leading the main melody) -

1) Part in the choir or ensemble, comp. from low children or middle and short wives. voices (mezzo-soprano - first altos, contralto - second altos); the range from fa is small. Oct. to fa 2nd Oct. (above - very rarely), most commonly used. salt (la) small Oct. - E-flat (E) 2nd Oct.

BARITONE(Greek - heavy-sounding) - Male of medium height. voice; A-flat (G) range is large. Oct. - A-flat 1st Oct.; transitional registers. note D sharp (D) 1st Oct.

There are lyrical baritone (approaching tenor in lightness of sound) and dramatic baritone (close in breadth and power to bass), with intermediate shades between them.

In the choir, baritones are included in the first bass part; range G large octave - F 1st octave (higher very rarely, mostly in unison with tenors)

BASS(Italian basso - low) -

There are high basses (cantante - melodious), central and profundo (deep) - low (they are also called Octavist Bass. A special, rarely found, variety of the lowest bass; the name Octavis is usually applied to choral singers (in solo singing - bass profundo ) Octavists sing an octave below the bass (in rare cases, descending to the F counter-octave). Octavists are most often used in a chord structure, with a quiet sound. The acoustic effect of the participation of octavists is the merging of the sounds of the chord, which is, as it were, relative to the main tone. overtones (therefore, it is most natural to use Octavists when singing the bases of major triads). Octavists should be used carefully, taking into account the instructions of the composer and the style of the production.)

2) Part in the choir or wok. ensemble; composed of baritones and basses themselves; range (without octavists) F of the major octave (rare below) - F of the 1st octave, the most common G of the major octave is D (E-flat) of the 1st octave. The use of octavists extends the range of the bass line down an octave. Bass part - harmonic. the foundation of the choir, hence the need for its intonation. stability and sonority. At the same time, it must have mobility, flexibility in dynamics. attitude, which is also beneficial for the purity of intonation.

TREBLE(from Latin dis - prefix meaning dismemberment, cantus - singing) -

2) Part in the choir or wok. ensemble, performed by high children's voices.

COLORATURA(from Latin coloro - color) - fast virtuoso passages (scales, arpeggias) and melismas that decorate the vocal part. Coloratura was often used in ancient choral music (starting from the Renaissance), in Bach, Handel, in Russian. church 18th century concert In modern choral works it is sometimes used as a figurative device. Coloratura is also the ability of the voice to move (hence the term coloratura soprano). Virtuoso mobility of any choral voice (including bass) is desirable in every qualified choir; it helps develop ease of sound and accuracy of intonation.

CONTRALTO(Italian contralto - low female voice; range from F of the small octave (lower - rarely and predominantly in folk choirs) to F2. Transitional notes E1 (F1), C-sharp2 (D)2; in the choir - part of the second altos . Sometimes used in unison with tenors as a kind of vocal color or to support high tenor notes, since this changes the timbre of the tenor part, the latter cannot serve as a rule, but rather an exception.

Mezzo-Soprano(Italian mezzo - average) - average female voice. The A range is small. Oct. - la2 (rarely higher). There are high (lyric) mezzo-soprano, whose sound is close to soprano, and low, which is close to contralto. Transitional register notes F-sharp1 (F1) - D-sharp2 (D2). In the choir, mezzo-sopranos make up the part of 1 alto, in the 3-voice female. chorus, depending on the specific conditions are included in the party of the 2nd or 3rd vote.

MIXT(from Latin mixtus - mixed) - the register of the singing voice, transitional between the chest and head (falsetto) registers; characterized by greater softness and lightness compared to the chest register and greater richness and sonority than falsetto. A well-produced voice requires a mixture of the main registers (chest and head) throughout the entire range, and the head sound increases in the upward direction. In Mixed music, the male voice has a predominant chest sound, while the female voice has a head-like sound. The role of the Mixt is especially important for the male voices of the choir; in particular, for tenors, the sounds of the 1st octave should be mixed.

SOPRANO(from Italian sopra - above, above) -

1) The highest female, children's (also treble) voice. The range is up to 1 - up to 3, occasionally there are higher (sol 3) and low (a small octave) sounds. There are 3 main varieties of Soprano: dramatic (characterized by fullness and strength of sound), lyrical (softer) and coloratura (characterized by mobility, ability to reach high notes, pronounced vibrato; not used in choirs). There are also intermediate types (lyric-dramatic and lyric-coloratura). Transitional register notes mi1 - fa1 and fa2 (F-sharp2).

2) The highest part in the choir or vok. ensemble, consisting of lyrical (first Soprano) and dramatic (second Soprano) voices; range up to 1 (rarely below) - up to 3, the most used ones are re1 - sol2 (la2).

The soprano part is the most important in the choir, since (in homophonic-harmonic music) it is most often assigned the melody; hence the need for it to be dynamic. flexibility, mobility, beauty of timbre.

TENOR(Italian, from Latin teneo - hold) -

2) High male singing voice. Range up to a small octave - up to 2; transition register note (between the chest and head registers) F - F-sharp1. Notated in treble clef (an octave higher than the actual sound), in bass and tenor clefs.

The main varieties of T.: lyrical (tenore di grazia), dramatic (tenore di forza), as well as the middle one between them - mezzo-characteristic - and the rare Tenor-altino (with a developed upper register - above C2). In the choir, the Tenor lyric and altino make up the first part, the rest - the second. Due to the frequent use of high tessitura in choirs (especially in men's choirs), the ability of tenors to use falsetto and mixed voice is important.

FALSETTO(from Italian falso - false), fistula is one of the registers of the male singing voice (upper), in which only the head resonator is used, isolated from the chest; The vocal cords do not close tightly and fluctuate at the edges, resulting in a weak, colorless falsetto sound. In solo singing, falsetto is used occasionally as a kind of color. In choral singing, falsetto is used when learning high notes, on PP, when the conductor sets the tone. Some tenors, performing extremely high notes, use a “voiced” falsetto, approaching a mixed voice: such voices are very useful for a choir. The ability to use falsetto is mandatory for singers (for the sake of “saving the voice”) and for the conductor.

Singing voice range table:

Choir voices:

Voice	Range
Coloratura soprano	up to 1 - up to 3, occasionally higher ones occur (salt 3)
Lyric soprano
Dramatic soprano	do1 - do3, occasionally there are higher (sol3) and low (a small octave) sounds; most commonly used re1 - sol2 (la2)
Mezzo-soprano	la small Oct. - la2 (rarely higher)
Contralto	from fa small Oct. (below - rarely and predominantly in folk choirs) to F2
Lyric tenor	up to small Oct. - up to 2
Dramatic tenor	up to small Oct. - up to 2
Tenor-altino	tenor with a developed upper register - above C2
Baritone	A-flat (sol) major. Oct. - A-flat 1st Oct.
Bass	fa big Oct. - fa 1st Oct.
Bass profundo	sing an octave below the bass (in rare cases, going down to the F counter-octave)

The selection and arrangement of materials was prepared by T.A. Fedotova.

The following publications were used: Romanovsky N.V. Choral Dictionary. Kruntyaeva T., Molokova N. Dictionary of foreign musical terms

• Altino, lyric light and strong lyric tenor
• Lyric-dramatic and dramatic tenor
• Characteristic tenor
• Lyric and dramatic baritone

Tenor

Among the tenors, according to the given classification, it is customary to distinguish: altino, light lyric, strong lyric, lyric-dramatic, dramatic and characteristic tenor.

Voice range: from before small octave C before second octave. The tenor-altino has - before small octave - mi second octave. For dramatic tenors - from la big up before second octave. It is extremely rare to find voices whose range and timbre coloring allowed them to perform both tenor and baritone roles (for example, E. Caruso).

Altino ( A), lyrical light ( LL) and strong lyrical ( OK) tenor

In the first two types of voices, the lower part of the voice sounds only on the piano, the upper parts are light. These voices easily perform coloratura passages and embellishments. The lyric tenor has another name - di grazia (“di gracia”, graceful). The capabilities of these voices are comparable to similar types of female voices. Most often, altino and lyric tenors are entrusted with the roles of hero-lovers, but they also perform the roles of old people.

Opera repertoire:

• Berendey – Rimsky-Korsakov “The Snow Maiden” ( A);
• The Stargazer - Rimsky-Korsakov "The Tale of the Golden Cockerel" (only A);
• Holy Fool – Mussorgsky “Khovanshchina” ( A);
• Lensky – Tchaikovsky “Eugene Onegin” ( LL);
• Bayan – Glinka “Ruslan and Lyudmila” ( LL And A);
• Faust – Gounod “Faust” ( LL);
• Romeo - Gounod "Romeo and Juliet" ( LL);
• Duke - Verdi "Rigoletto" ( LL);
• Indian guest - Rimsky-Korsakov “Sadko” (can sing A And LL);
• Levko - Rimsky-Korsakov “May Night” ( LL);
• Almaviva – Rossini “The Barber of Seville” ( A And LL);
• Lohengrin – Wagner "Lohengrin" ( OK);
• Werther – Massenet "Werther" ( OK);
• Rudolph - Puccini "La Bohème" ( LL).

Owners of these votes: Ivan Kozlovsky ( A), Sergey Lemeshev ( LL), Leonid Sobinov ( OK), Yuri Marusin ( LL), Alfredo Kraus (L), Andrey Dunaev ( LL), Mikhail Urusov ( OK), Ahmed Aghadi ( OK), Alibek Dnishev ( LL).

Lyrical-dramatic ( LD) and dramatic ( D) tenor

The dramatic tenor has another name - di forza (“di forza”, strong), which determines its place in operatic work. Heroic parts were written for him, requiring vocal power and bright timbre colors throughout the entire range of the voice. The repertoire of the lyric-dramatic tenor is almost the same as that of the dramatic tenor.

These are strong characters, bright personalities, capable of feats, who face great trials in life.

Operatic repertoire of dramatic tenor:

• Sadko - Rimsky-Korsakov “Sadko”;
• Siegfried – Wagner “Siegfried”;
• Othello - Verdi "Othello".

• Radames - Verdi "Aida";
• Sobinin - Glinka “Ivan Susanin”;
• Lykov - Rimsky-Korsakov “The Tsar’s Bride”;
• Calaf – Puccini “Turandot”;
• Cavaradossi – Puccini “Tosca”.

Performers: Enrico Caruso ( D), Mario Lanza ( D), Nikolay Figner ( D), Mario Del Monaco ( D), Vladimir Atlantov ( D), Vladislav Piavko ( D), Placido Domingo ( D), Jose Carreras ( LD).

Characteristic tenor

This type of tenor has a special timbre coloring and, as a rule, plays supporting roles. He may not have a full tenor range, but in a limited part of his range his voice must be especially expressive and flexible in portraying insinuating, flattering, hissing, insidious whispers.

Opera repertoire:

• Shuisky – Mussorgsky “Boris Godunov”;
• Triquet – Tchaikovsky “Eugene Onegin”;
• Misail – Mussorgsky “Boris Godunov”;
• Sopel - Rimsky-Korsakov “Sadko”;
• Eroshka – Borodin “Prince Igor”;
• Bomelius - Rimsky-Korsakov “The Tsar’s Bride”;
• Ovlur – Borodin “Prince Igor”;
• Podyachiy – Mussorgsky “Khovanshchina”.

Lyrical ( LB) and dramatic ( DB) baritone

These types of voices combine the power of sound and a soft, enveloping warm timbre. Range – from la major octave C la first octave. The lower notes of a dramatic baritone sound richer than those of a lyric baritone. In this section, the dramatic baritone sounds confidently on the forte. This voice is loudest from si small octave C F first. In a number of baritone parts, falsetto sound is allowed, like a special color, for example, in Figaro's cavatina. The lyrical baritone is entrusted with the roles of hero-lovers who act not at the whim of feelings, but thoughtfully and rationally.

Opera repertoire:

• Germont - Verdi "La Traviata" ( LB);
• Don Juan – Mozart “Don Giovanni” ( LB);
• Vedenets guest - Rimsky-Korsakov “Sadko” ( LB);
• Onegin – Tchaikovsky “Eugene Onegin” ( LB);
• Yeletsky – Tchaikovsky “Queen of Spades” ( LB);
• Robert - Tchaikovsky "Iolanta".

Performers: Mattia Battistini, Titto Gobbi, Pavel Lisitsian, Dmitry Gnatyuk, Yuri Gulyaev, Yuri Mazurok, Dietrich Fischer Dieskau, Alexander Voroshilo, Dmitry Hvorostovsky.

The dramatic baritone embodies the images of strong heroes, often treacherous and cruel. Note that these parts were also performed by bass-baritones (for example, the parts of Figaro, Ruslan).

Opera repertoire:

• Figaro – Mozart “The Marriage of Figaro”;
• Rigoletto – Verdi “Rigoletto”;
• Iago – Verdi “Othello”;
• Mizgir - Rimsky-Korsakov “The Snow Maiden”;
• Aleko – Rachmaninov “Aleko”;
• Igor – Borodin “Prince Igor”;
• Scarpia – Puccini “Tosca”;
• Ruslan - Glinka “Ruslan and Lyudmila”;
• Count di Luna - Verdi "Il Trovatore".

Performers: Sergei Leiferkus, Titta Ruffo.

Bass-baritone, central bass, bass profundo, bass buffo

The high bass has the most sonorous note - before first octave, working middle - B-flat major octave - re first octave.

The strength of the sound of the central bass, the saturation of the lower notes increases compared to the bass-baritone; note before the first octave sounds stronger than the high bass. Parts of this type of bass actively use the central and lower parts of the range. Working middle – sol-la large octave - up to the first octave.

Bass profundo is very rare, so its parts are often assigned to the central bass. The bottom notes of the bass profundo are la counter octaves. Owners of this voice: P. Robson, M. Mikhailov, Y. Vishnevoy.

Let us note an even more rare voice - a bass octavist, whose lower notes sound very powerful and full - beans counter octaves. Modern singer Yuri Vishnevoy, for example, has such capabilities. This type of voice is nothing more than a bass profundo with an extended range and more powerful lower notes.

Bass buffo performs the main and supporting parts, comic parts and old people's parts. This type of voice clearly demonstrates acting abilities in a certain part of the range, but they may not have the beauty of timbre or unique technique.

Bass-baritone operatic repertoire:

• Basilio – Rossini “The Barber of Seville”;
• Mephistopheles – Gounod “Faust”;
• Nilakanta - Delib "Lakme";
• Susanin - Glinka “Ivan Susanin”;
• Vladimir Galitsky - Borodin “Prince Igor”.

Performers: F. Shalyapin, E. Nesterenko, P. Burchuladze, V. Baikov, P. Tolstenko, V. Lynkovsky.

Operatic repertoire of the central bass:

• Konchak – Borodin “Prince Igor”;
• Farlaf - Glinka “Ruslan and Lyudmila”;
• Varangian guest - Rimsky-Korsakov “Sadko”;
• Sobakin - Rimsky-Korsakov “The Tsar’s Bride”;
• Gremin – Tchaikovsky “Eugene Onegin”;
• Rene - Tchaikovsky "Iolanta".

Performers: Maxim Mikhailov, Mark Reisen, Leonid Boldin.

Operatic repertoire of characteristic bass:

• Bartolo – Rossini “The Barber of Seville”;
• Skula – Borodin “Prince Igor”;
• Duda - Rimsky-Korsakov “Sadko”;
• Zuniga - Bizet "Carmen".

Bass/… Morphemic-spelling dictionary

bass- amandyk sadakasy. Zheke bass ushіn beriletіn sadaka, petir. Keshkilikti auyzashar, tanertengilikti saresi deydi. Oraza uaqytynda musylmandar family son arbir basyna b a sa m a n d y k (petir) s a d a k a s y n to leidi (Ana tili, 04/26/1990, 6). Bass... ... Kazak tilinin tүsіndіrme сөздігі

BASS- BASK bactericidal activity of blood serum honey. BASK Source: http://www.zzr.ru/archives/2002/12/article6.htm BAS BAS anode dry battery BAS Dictionaries: Dictionary of abbreviations and abbreviations of the army and special services. Comp. A. A. Shchelokov. M.: OOO... Dictionary of abbreviations and abbreviations

bass- a, m. basse f., it. basso. 1. Low male voice. Sl. 18. Bass, the lowest voice in singing. LP 6. A hoarse bass voice sang. Osipov Eneida 3 15. From the serfs and those taken into the courtyard, all possible sopranos, contraltos, tenors, baritones,... ... Historical Dictionary of Gallicisms of the Russian Language

A; pl. bass, ov; m. [ital. basso low]. 1. The deepest male voice; singing voice of this timbre. Talk, sing in a bass voice. Velvety, thick bass. 2. A singer with such a voice. 3. Low register string or wind musical instrument. Bass... ... encyclopedic Dictionary

- (French basse, from bas low). 1) the lowest, male voice. 2) a musical instrument similar to a violin, but much larger. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. ALS 1) the lowest male... ... Dictionary of foreign words of the Russian language

See singer... Dictionary of Russian synonyms and similar expressions. under. ed. N. Abramova, M.: Russian Dictionaries, 1999. bass (low, thick) (sound, voice), singer; trombone, double bass, trumpet, bass, octave, bass Dictionary of Russian ... Synonym dictionary

- [low tone, voices] noun, m., used. infrequently Morphology: (no) what? bass, what? bass, (see) what? bass, what? bass, about what? about bass and bass; pl. What? bass, (no) what? bass, what? bass, (I see) what? bass, what? bass, about what? about bass 1. Bass… … Dmitriev's Explanatory Dictionary

- (1603–1694) the largest representative of the poetic genre “haiku” (see); in Japanese literature this genre is inextricably linked with his name. The real name of the poet is Matsuo Chuzaemon Munefusa. According to the custom of writers and artists of the Tokugawa era (1603–1868) ... Literary encyclopedia

Bass- (from Italian basso low) 1) Low husband. singer voice. Approximate range in solo parts: FA F1, in choir up to D1 MI. Notated in bass clef. There are high, melodious (basso cantante), center. and low (basso profundo) B. High B. usually... ... Russian humanitarian encyclopedic dictionary

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The central bass has a deep, beautiful rich timbre. Sometimes, almost the same as the high bass cantilena. In contrast to the “high bass”, central ones usually have a large, strong voice, although there are exceptions, but they are rare, and are the result of inferior technique, like the young Furlanetto, at the beginning of his career he did not have a very large voice, sounding light, in fact “high bass” (in recent years, Furlanetto has been singing in his full voice, although sometimes, due to some ill health, his voice becomes weaker; Furlanetto is a rare singer who, even after sixty years, continues to grow, both technically and creatively).

Nikolay Gyaurov. He had a soft bass, capable of sounding both lightly lyrically and richly dramatic. Gyaurov has excellent timbre, musicality, artistry, and technique. The recordings made with his participation are truths, not treasures. Giaurov recorded a lot and performed with such singers as Joan Sutherland, Luciano Pavarotti, Franco Corelli. He also performs Igor in the most gorgeous La Scal production of “Prince Igor” in Italian, the part of Galitsky and Konchak is sung by Boris Hristov.

"On earth, the entire human race" Mephistopheles "Faust" Charles Gounod.
Here Gyaurov uses all the power of his voice, all its beauty, but at the same time highlights harsh notes in it to show that it is the Devil who sings. In general, Nikolai was a wonderful actor, and in my opinion, if he had played in the drama theater, he would have turned out to be the most gorgeous Woland, to whom Basilashvili would be like the moon.

Aria of Prince Gremin "Eugene Onegin" Pyotr Ilyich Tchaikovsky.
Here, Gyaurov is already aged, this is a very good Gremin, perhaps not the best, but this game was not his favorite. It is worth paying attention to the lyrical sound of his voice in some places.

Ferruccio Furlanetto, a wonderful artist who continues to improve to this day, he did not and does not have such a rich timbre as Ghiaurov’s, but at the same time his voice is very beautiful, soft, and, if necessary, can become quite hard. Sometimes he allows himself to deviate from technique to enhance the image, but this happens rarely and is always appropriate.

1986: King Phillip, "Don Carlos" by Verdi. Here Furlanetto is young, and his voice sounds quite light, he still lacks strength here.

The same King Phillip, only performed 22 years later. 2008
It already has everything: strength, softness and chic forte. And the difference in the acting is impressive, as if these are two different performers, although, of course, there is something in common between them.

"The entire human race is on earth"
In this game, Furlanetto is simply gorgeous, a real Mephistopheles.

Gremin.
There is, of course, an accent here, but I can say that I really like this Gremin, despite the production and the different interpretation of the image. By the way, it is worth noting that despite the less richness of timbre than that of Giaurov or the same George London, Furlanetto’s voice is very well remembered. It is difficult to confuse him with someone else.

Mark Osipovich Reisen. I’ll say right away that this is my favorite bass; Reisen was an excellent artist, singer and person (as far as can be judged based on the words of mutual friends).
Reisen has a rich, beautiful timbre, a voice that is free, both in terms of sound production and in terms of dynamic range. He could sing from thunderous forte to the lightest piano. Also, Mark Osipovich controlled the timbre of his voice at the highest level; Dosifey, Boris, Gremin he sang with one timbre, Holofernes, Konchak with a completely different one. Mark Osipovich retained his voice until his death at the age of 97. Born in Tsarist Russia in 1895, he saw both world wars (he took part in the first), saw the revolution, saw the putsch and the fall of the communist system, saw the short-term spiritual uplift that was in Russia at the turn of 1980 and 1990. I hope that when he died, he was sure that the country in which he lived, which he loved so much, was becoming better, cleaner, brighter (which was not destined to happen, but there is no need to talk about it here).

"The whole human race is on earth."
I won’t comment on anything, you just need to listen.

King Phillip.
Here you can hear the entire dynamic range of Mark Osipovich's voice.

"Gremin" recording from 1985, Mark Osipovich is 90 years old here!

For comparison, the performance of "Gremin" in the prime of his career. Of course, in comparison with this performance, in the previous one there are certain losses, the breathing is weaker, the timbre is less expressive. But others, being young, at the zenith of fame, do not sing like Raizen at 90.

TENOR

Comic tenor

German name: Spieltenor - Tenor Buffo

English translation:(Lyric) comic tenor. Young singers of this type also often sing the roles of Lyrischertenor

Range: from "C" of the first octave to "B-flat" of the second

Roles:

Pedrillo, Die Entfuhrung aus dem Serail (Wolfgang Amadeus Mozart)
Monostatos, Die Zauberflote (Wolfgang Amadeus Mozart)
King Kaspar, Amahl and the Night Visitors (Gian Carlo Menotti)
Mime, Das Rheingold (Richard Wagner)
Monsieur Triquet, Eugene Onegin (Pyotr Ilyich Tchaikovsky)

Singers:

Peter Klein

Tenor for character roles

German name: Charaktertenor

English version: Character tenor

Description: this type requires good acting skills.

Roles:

Mime, Siegfried (Richard Wagner)
Herod, Salome (Richard Strauss)
Aegisth, Elektra (Richard Strauss)
The Captain, Wozzeck (Alban Berg)

Singers:

Peter Klein
Paul Kuen
Gerhard Stolze
Robert Tear

Lyric tenor

German name: Lyrischer Tenor

English translation: Lyric tenor

Range:

Roles:

Tamino, Die Zauberflote (Wolfgang Amadeus Mozart)
Belmonte, Die Entfuhrung aus dem Serail (Wolfgang Amadeus Mozart)
Rodolfo, La boheme (Giacomo Puccini)
Ferrando, Cosi fan tutte (Wolfgang Amadeus Mozart)
Almaviva, Il barbiere di Siviglia (Gioachino Rossini)
Arturo, I puritani (Vincenzo Bellini)
Elvino, La sonnambula (Vincenzo Bellini)
Ramiro, La Cenerentola (Gioachino Rossini)
Nemorino, L"elisir d"amore (Gaetano Donizetti)
Alfredo, La traviata (Giuseppe Verdi)
Il Duca, Rigoletto (Giuseppe Verdi)
Don Ottavio, Don Giovanni (Wolfgang Amadeus Mozart)
Faust, Faust (Charles-Francois Gounod)

Singers:

Luigi Alva
Alfredo Kraus
Carlo Bergonzi
Jussi Bjorling
Ian Bostridge
Jose Carreras
Anton Dermota
Giuseppe Di Stefano
Juan Diego Florez
Nikolai Gedda
Beniamino Gigli
Luciano Pavarotti
Jan Peerce
Fritz Wunderlich
Peter Schreier
Leopold Simoneau

Young dramatic tenor

German name: Jugendlicher Heldentenor

English translation: Light dramatic tenor

Range: from "to" the first octave "to" to the third

Description: a tenor with good top notes of dramatic color and a certain amount of sonority to cut through orchestras.

Roles:

Don Jose, Carmen (Georges Bizet)
Lohengrin, Lohengrin (Richard Wagner)
Siegmund, Die Walkure (Richard Wagner)
Radames, Aida (Giuseppe Verdi)
Manrico, Il trovatore (Giuseppe Verdi)
Idomeneo, Idomeneo (Wolfgang Amadeus Mozart)
Calaf, Turandot (Giacomo Puccini)
Cavaradossi, Tosca (Giacomo Puccini)
Florestan, Fidelio (Ludwig van Beethoven)
Canio, Pagliacci (Ruggero Leoncavallo)
Don Alvaro La forza del destino(Giuseppe Verdi)
Max, Der Freischutz (Carl Maria von Weber)
Dick Johnson, La fanciulla del West (Giacomo Puccini)

Singers:

Placido Domingo
Antonio Cortis
Georges Thill
Jose Cura
Richard Tucker
Ben Heppner
Enrico Caruso
Giacomo Lauri-Volpi
Giovanni Martinelli
Franco Corelli
James King
Jonas Kaufmann

Dramatic tenor

German name: Heldentenor

English translation: Heroic Tenor

Range: from "B-flat" minor to "C" third

Description: a full-fledged dramatic tenor with baritone coloring in the middle register and sonority. Cuts through dense orchestration well.

Roles:

Othello, Othello (Giuseppe Verdi)
Siegfried, Der Ring des Nibelungen (Richard Wagner)
Parsifal, Parsifal (Richard Wagner)
Tristan, Tristan und Isolde (Richard Wagner)
Walther von Stolzing, Die Meistersinger (Richard Wagner)

Singers:

Jean de Reszke
Francesco Tamagno
Ivan Yershov
Giuseppe Borgatti
Wolfgang Windgassen
Lauritz Melchior
James King
Jon Vickers
Mario del Monaco
Ramon Vinay
Set Svanholm
Hans Hopf
Max Lorenz

BARITONE

Lyric baritone

German name: Lyrischer Bariton - Spielbariton

English translation: Lyric baritone

Range: from "B-flat" of the major octave to "G" of the first octave

Description: soft, gentle timbre without harshness.

Roles:

Conte Almaviva, Le nozze di Figaro (Wolfgang Amadeus Mozart)
Guglielmo, Cosi fan tutte (Wolfgang Amadeus Mozart)
Marcello, La boheme (Giacomo Puccini)
Papageno, Die Zauberflote (Wolfgang Amadeus Mozart)
Onegin, Evgeny Onegin (Pyotr Ilyich Tchaikovsky)
Albert, Werther (Jules Massenet)
Billy Budd, Billy Budd (Benjamin Britten)
Figaro, Il barbiere di Siviglia (Gioachino Rossini)

Singers:

Giuseppe De Luca
Dietrich Fischer-Dieskau
Gerhard Husch
Hermann Prey
Simon Keenlyside
Nathan Gunn
Peter Mattei
Thomas Hampson
Wolfgang Holzmair

Cavalier baritone

German name: Kavalierbariton

Range:

Description: a voice with a metallic timbre that can sing both lyrical and dramatic passages. The voice has a noble baritone quality, not as powerful as Verdi's or the characteristic baritone, which is expected to be more militant on stage and physically strong. The singer of this fakh requires good stage presence and good appearance.

Roles:

Don Giovanni, Don Giovanni (Wolfgang Amadeus Mozart)
Tonio, Pagliacci (Ruggiero Leoncavallo)
Iago, Otello (Giuseppe Verdi)
Count, Capriccio (Richard Strauss)

Singers:

Dmitri Hvorostovsky
Sherrill Milnes

Characteristic baritone

German name: Charakterbariton

English translation: Verdi baritone

Range: from "A" of the major octave to "G-sharp" of the first

Roles:

Wozzeck, Wozzeck (Alban Berg)
Germont, La traviata (Giuseppe Verdi)

Singers:

Mattia Battistini
Lawrence Tibbett
Pasquale Amato
Piero Cappuccilli
Ettore Bastianini
Renato Bruson
Tito Gobbi
Robert Merrill

Dramatic baritone

German name: Heldenbariton

English translation: Dramatic baritone

Range:

Description: The “heroic” baritone is a rare and therefore so desirable phenomenon in German opera houses. The timbre is ringing and flighty, combined with power and a “command tone”.

Roles:

Telramund, Lohengrin (Richard Wagner)
Count di Luna, Il trovatore (Giuseppe Verdi)

Singers:

Leonard Warren
Eberhard Wachter
Thomas Stewart
Titta Ruffo

Lyric bass-baritone

German name: Lyrischer Bassbariton

English translation: Lyric Bass-baritone

Range: from "G" of the major octave to "F-sharp" of the first

Description: The range for a bass-baritone often varies greatly from part to part, some of which have little technical difficulty. Some bass-baritones gravitate more towards baritones: Friedrich Schorr, George London and Bryn Terfel, others towards basses: Hans Hotter, Alexander Kipnis and Samuel Ramey.

Roles:

Escamillo, Carmen (Georges Bizet)
Golaud, Pelleas et Melisande (Claude Debussy)

Singers:

Thomas Quasthoff

Dramatic bass-baritone

German name: Dramatischer Bassbariton

English translation: Bass-baritone

Range: from "G" of the major octave to "F-sharp" of the first

Roles:

Igor, Prince Igor (Alexander Borodin)
Scarpia, Tosca (Giacomo Puccini)
The Dutchman, The Flying Dutchman (Richard Wagner)
Hans Sachs, Die Meistersinger (Richard Wagner)
Wotan, Der Ring des Nibelungen (Richard Wagner)
Amfortas, Parsifal (Richard Wagner)

Singers:

Friedrich Schorr
Rudolf Bockelmann
Anton van Rooy
George London
James Morris
Bryn Terfel

BASS

Bass cantante - high bass

Italian name: Basso Cantante

English translation: Lyric Bass-baritone

Range:, sometimes F sharp first.

Description: a bass who is good at singing in a sing-song manner. Translated from Italian, basso cantante means melodious bass.

Roles:
Dosifey - Khovanshchina (Modest Mussorgsky)
Prince Ivan Khovansky - Khovanshchina (Modest Mussorgsky)

Salieri - Mozart and Salieri (Rimsky-Korsakov)
Ivan Susanin - Life for the Tsar (Glinka)
Miller - Mermaid (Dargomyzhsky)
Ruslan - Rulan and Lyudmila (Glinka)
Duke Bluebeard, Bluebeard's Castle (Bela Bartok)
Don Pizarro, Fidelio (Ludwig van Beethoven)
Count Rodolfo, La sonnambula (Vincenzo Bellini)
Blitch, Susannah (Carlisle Floyd)
Mephistopheles, Faust (Charles Gounod)
Don Alfonso, Cosi fan tutte (Wolfgang Amadeus Mozart)
Leporello, Don Giovanni, Don Giovanni (Wolfgang Amadeus Mozart)
Figaro, Le nozze di Figaro (Wolfgang Amadeus Mozart)
Boris, Boris Godunov (Modest Mussorgsky)
Don Basilio Il barbiere di Siviglia (Gioachino Rossini)
Silva, Ernani (Giuseppe Verdi
Philip II, Don Carlos (Giuseppe Verdi)
Count Walter, Luisa Miller (Giuseppe Verdi)
Zaccaria, Nabucco (Giuseppe Verdi)

Singers:

Norman Allin
Adamo Didur
Pol Plancon
Feodor Chaliapin
Ezio Pinza
Tancredi Pasero
Ruggero Raimondi
Samuel Ramey
Cesare Siepi
Hao Jiang Tian
Jose van Dam
Ildebrando D" Arcangelo

High dramatic bass

German name: Hoherbass

English translation: Dramatic Bass-baritone

Range: from "mi" of the major octave to "fa" of the first

Roles:

Boris, Varlaam - Boris Godunov (Modest Mussorgsky)
Klingsor, Parsifal (Richard Wagner)
Wotan Der Ring des Nibelungen (Richard Wagner)
Caspar, Der Freischutz (Carl Maria von Weber)
Philip, Don Carlo (Giuseppe Verdi)

Singers:

Theo Adam
Hans Hotter
Marcel Journal
Alexander Kipnis
Boris Christoff
Cesare Siepi
Fyodor Chaliapin
Mark Reizen
Nikolai Ghiaurov

Young bass

German name: Jugendlicher Bass

English translation: Young bass

Range: from "mi" of the large octave to "fa" of the first

Description: young bass (meaning age).

Roles:

Leporello, Masetto, Don Giovanni (Wolfgang Amadeus Mozart)
Figaro, Le nozze di Figaro (Wolfgang Amadeus Mozart)
Varlaam, Boris Godunov (Modest Mussorgsky)
Colline, La boheme (Giacomo Puccini)

Lyrical comic bass

German name: Spielbass

Italian name: Bassbuffo

English translation: Lyric comic bass

Range: from "mi" of the large octave to "fa" of the first

Roles:

Farlaf - Ruslan and Lyudmila (Glinka)
Varangian Guest (Sadko, Rimsky-Korsakov)
Don Pasquale, Don Pasquale (Gaetano Donizetti)
Dottor Dulcamara, L"elisir d"amore (Gaetano Donizetti)
Don Bartolo, Il barbiere di Siviglia (Gioachino Rossini)
Don Basilio, Il barbiere di Siviglia (Gioachino Rossini)
Don Magnifico, La Cenerentola (Gioachino Rossini)
Mephistopheles, Faust (Charles Gounod)
Don Alfonso, Cosi fan tutte (Wolfgang Amadeus Mozart)
Leporello, Don Giovanni (Wolfgang Amadeus Mozart)

Singers:

Luigi Lablache
Fernando Corena
Ferruccio Furlanetto

Dramatic buffo

German name: Schwerer Spielbass

English translation: Dramatic comic bass

Range:

Khan Konchak - Prince Igor (Alexander Borodin)
Varangian Guest - Sadko (Rimsky-Korsakov)
Baculus, Der Wildschütz (Albert Lortzing)
Ferrando, Il trovatore (Giuseppe Verdi)
Daland, Der fliegende Holländer (Richard Wagner)
Pogner, Die Meistersinger (Richard Wagner)
Hunding, Die Walküre (Richard Wagner)

Low Bass

German name: Lyric Serioser Bass

Italian name: Basso Profundo

English translation: Low bass

Range: from "C" of the major octave to "F" of the first

Description: bass profundo is the lowest male voice. According to J.B. Steane, which he cited in his book “Voices, Singers, and Critics” by J. B. Steane, this voice uses sound production that excludes fast vibrato. It has a dense, pounding timbre. Singers sometimes use other types of vibrato: slow or "frightening" swing.

Roles:

Rocco, Fidelio (Ludwig von Beethoven)
Osmin, Die Entführung aus dem Serail (Wolfgang Amadeus Mozart)
Sarastro, Die Zauberflöte (Wolfgang Amadeus Mozart)
Pimen - Boris Godunov (Modest Mussorgsky)
Sobakin - The Tsar's Bride (Rimsky-Korsakov)
Prince Yuri - The Legend of Kitezh (Rimsky-Korsakov)
King René - Iolanta (Tchaikovsky)
Prince Gremin - Eugene Onegin (Pyotr Ilyich Tchaikovsky)

Singers:

Matti Salminen

Low dramatic bass

German name: Dramatic Series Bass

English translation: Dramatic low bass

Range: from "C" of the major octave to "F" of the first

Description: powerful bass profundo.

Roles:

Vladimir Yaroslavich, Prince Igor (Alexander Borodin)
Hagen, Götterdämmerung (Richard Wagner)
Heinrich, Lohengrin (Richard Wagner)
Gurnemanz, Parsifal (Richard Wagner)
Fafner, Das Rheingold, Siegfried (Richard Wagner)
Marke, Tristan und Isolde (Richard Wagner)
Hunding, Die Walküre (Richard Wagner)

Singers:

Ivar Andresen
Gottlob Frick
Kurt Moll
Martti Talvela