Ingo,
Re: baritone singing tenor: You're welcome - I must say that I find tenor
material to be very tiring until I have practiced it thoroughly and solved
every minute problem of how to get from one note or one vowel to another,
after which it is usually not hard so long as I stick to what I practiced
and don't get too daring about introducing "chest".
Re: optional and traditional high notes. Tenors like to show off. Not only
that but we like it when they do! Like the high C in Rodolfo's aria in "La
Boheme" which wasn't put there by the composer. Baritones sometimes do this
too, to a lesser extent, and with less fainting and swooning of the
assembled populace though the big note is more likely to be an A or Ab. The
Bel Canto tradition even allows for wee cadenzas to be inserted, and there
are compilations of them, collected by Ricci, published by Ricordi. A good
example of a baritone aria where such a cadenza is more or less de rigeur
is "Largo al factotum" at "col' cavaliere la la la ..." I hope that covers
it! john
At 07:36 AM 5/24/00 -0700, you wrote:
>Thank you all for the suggestions on books regarding Fach. I'm going
>to see if I can't chase down one or two of them in the upcoming weeks.
>
>John -- thank you for the warning on hurting myself trying to sing a
>few tenor pieces. I've tried singing one or two of the choruses in
>Bach's St. John Passion with the tenor section and it tired my voice
>tremendously. The bass section was a tad low though. As a result I'm
>going to be very careful doing this and only under the guidance of my
>voice teacher.
>
>Tako and John -- both of you mentioned optional or traditional high Cs.
> I must admit I'm a bit confused and would appreciate an explanation.
>(My ear is not that well trained at this point but I when I compare the
>scores with my recollection of recordings I must admit that the
>recordings 'sounded' higher.)
>
>Thank you again.
>
>Cheers,
>Ingo
>
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John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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