In summer 2003 I
reviewed on this site a CD-ROM
entitled ‘Between Earth and Sky: The Hour
of Meditation and Prayer’. This was an
issue from Cantolopera being Volume VII
of their ‘Great Interactive Opera Encyclopaedia’.
On that ROM there were hours of involving
content including a spoken and visual
analysis of the characteristics of the
baritone voice. Other volumes in the series
covered the other vocal registers. Each
disc allowed analysis of ones own vocality
with the opportunity to sing arias with
the accompanying music from speakers or
headphones as the words and score passed
in front of ones eyes on the VDU. This
new series from Cantolopera comprises
‘straight’ CDs, but their sub-title
‘to be Experienced as a Protagonist’
gives a clue to their second purpose.
Each disc of arias is sung by professional
singers, backed by orchestra, and chorus
when appropriate. These ‘model’ tracks
are then followed by the music and chorus
alone, allowing the listener to try his/her
talents and skills, with the backing of
an orchestra, rather than just a piano.
The words, in the language of the aria,
are given with an English translation.
However, as no music script is given,
as was the case on the ROMs, a vocal score
is a must for the serious protagonist,
particularly as the words provided do
not indicate reprised phrases. There is
also the complication that some arias
are given in abbreviated performing versions
that may differ from standard vocal scores.
However, serious users of these discs,
which are in no way ‘jokey karaoke’, should
have no difficulty in using them both
for listening to the performances of professional
singers and as protagonist. Given also
that each disc has ‘fach’ variations,
such as lyric and dramatic arias, they
will help the user define their individual
vocal strengths for themselves. Not all
potential singers have the benefit of
a music college coach or personal teacher.
Each disc is a separate entity and can
be purchased in that form. (See purchase
details on this site)
The bass is the lowest
male voice. Its range covers almost two
octaves from E below middle C to middle
C or even E above. Many sub-divisions
exist within opera houses with some distinct
differences between the German and Italian
repertoire. In the former, common divisions
include the ‘tiefer’ bass (Sarastro in
Die Zauberflöte, CD 1 tr. 6 here);
the ‘buffo’ or ‘komischer’ bass (Osmin
in The Seraglio); and the ‘hoker’ bass.
Osmin is unusual in this ‘fach’ in that
it is a comic role of which Mozart also
asks for a low D, no less, to be held
for seven measures; far too long for any
faking no matter how low the jaw is put
on the chest! Putative protagonists will
be relieved that the aria concerned is
not included here for them to attempt.
There is also the complication of the
Wagner bass-baritone (Wotan, Sachs and
The Dutchman). What these voices require,
be they true basses with some top, or
baritones with strength in their lower
range, is vocal strength and focus to
‘ride’ Wagnerian orchestration. Somewhat
less demanding are the basses with a free
top than can take on the Mozart roles
of Don Giovanni, his servant Leporello,
as well as Figaro and his master Count
Almaviva. What these parts require is
a lightness of vocal touch to go with
the greater sonority of the bass voice
when compared to the baritone voice for
which they were written. Examples are
to be found on CD 1 trs.1-2 and CD 2 trs.
5, 6 and 8.
In the Italian repertoire
there are three main sub-divisions of
the bass voice. The most common is the
‘basso cantante’, a high but true bass
in timbre and range also encompassing
lyric qualities and a smooth style. Verdi
wrote King Philip (Don Carlo, CD 2 tr.1),
Zaccaria (Nabucco, CD 2 tr.7), Silva,
(Ernani, CD 1 tr.5), Procida, (Sicilian
Vespers, CD 1 tr.4) and Fiesco (Simon
Boccanegra, CD 1 tr.9) and several other
roles, for this type of voice. Related
roles are Mephistopheles (Gounod’s Faust,
CD 2 tr.2) and the title role in Boris
Godunov. Requiring a distinctly more flexible
voice is the ‘buffo bass’, really the
coloratura of basses. Agility and speed
of tongue are requirements for roles such
as Dr. Bartolo in Rossini’s Barber of
Seville and the title role in Don Pasquale.
The lowest voice in the Italian ‘fach’
is the ‘basso profondo’ and which really
overlaps with the Germanic ‘tiefer’ bass.
On these two discs the
higher Mozart roles from Don Giovanni
and The Marriage of Figaro are shared,
with Valter Carignano, described as a
bass-baritone taking master and servant
from the first named (CD 1 trs.1-2 and
CD 2 tr.8), and Matteo Peirone, described
as ‘basso brilliante’ singing both Figaro
arias (CD 2 tr.5-6). I find Carignano
rather too heavy-toned for the libertine
Giovanni and lacking the sardonic turn
of phrase that can refresh Leporello’s
‘Catalogue’ aria; the stolid accompaniment
to the former aria, ‘Deh! Vieni’ (CD 1
tr.1) doesn’t help. Peirone is better
as Figaro and I can identify with his
characterisation. Marco Paoluzzo, who
has a tightly focused smallish voice,
takes the remaining ‘cantante’ roles.
He is no bad exemplar for interested protagonists
to follow with some elegant phrasing in
the Verdi arias, although he hasn’t the
ideal low sonority for Sarastro (CD 1
tr.6) or in Pimen’s ‘Monologue’ from Boris
(CD 2 tr. 3).
Listen to CD 1
tr.9, Verdi’s ‘Il lacerato spirito’; CD
2 tr.2 to Mephistopheles’ ‘Le veau d’or’
from Faust and to CD 2 tr.6 ‘Se vuol ballare’
as Figaro thinks how he might get the
better of Count Almaviva his master, who
covets his wife to be.
Robert J Farr
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