Hi all:
I consider myself a lyric-leggiero tenor at this stage of my
development, yet I am quizzical about the whole notion of fach. What
reading I have done, mostly Richard Miller but also someone whose name
escapes me presently (he has a website about fach, I remember that
much), tells me that I am not at all a lyric tenor, but a baritone!
On most days (not all days, of course), my first passaggio occurs at B
below middle C. On other days (not necessarily corresponding with the
theory in question), my second passaggio will be anywhere from E above
to F# above. The second passaggio is the most inconsistently placed.
Now, here's the dilemma. I have a very strong, dependable high C, and
every note down to the second passaggio (depending on what it is that
day) is equally strong and vibrant, never forced. Plus, I am also
working on the tenor aria from Postillon de Longjumeau (Adam) which
goes up to a high D(!) and have no problem, even if I use quite a bit
of messa di voce up there, and my laryngeal position is unforced,
relaxed, comfortable.
I am sure I'm not the first to address this topic, so forgive me if
I'm repeating something, but I just have to wonder: is there a
justification in fach consideration, if only for the possible
encouragement it might give me regarding roles to learn? Should I
abandon what I have learned about fach considerations? I do feel
there are strong arguments against a semi-young tenor such as myself
learning some roles at this point (Tristan and Otello, for example,
would destroy me right now; but I can see myself doing them in 20
years), but I also feel that the basis of the fach system, which lies
in the placement of the passaggi, is irrelevant at best, and at least
limiting in terms of role consideration.
Does anyone share this view? Or what are some contradicting views on
this topic?
Paul B.
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