A baritone is a type of classical male singing voice whose vocal range
lies between the bass and the tenor voice-types. The term originates
from the Greek Î²Î±Ï Ï Ï„Î¿Î½Î¿Ï‚ (barýtonos), meaning "heavy
sounding". Composers typically write music for this voice in the range
from the second F below middle C to the F above middle C (i.e.
F2â€"F4) in choral music, and from the second G below middle C to the
G above middle C (G2 to G4) in operatic music, but the range can
extend at either end. Subtypes of baritone include the baryton-Martin
baritone (light baritone), lyric baritone, Kavalierbariton, Verdi
baritone, dramatic baritone, baryton-noble baritone, and the
bass-baritone.The first use of the term "baritone" emerged as
baritonans, late in the 15th century, usually in French sacred
polyphonic music. At this early stage it was frequently used as the
lowest of the voices (including the bass), but in 17th-century Italy
the term was all-encompassing and used to describe the average male
choral voice.Baritones took roughly the range as it is known today at
the beginning of the 18th century, but they were still lumped in with
their bass colleagues until well into the 19th century. Many operatic
works of the 18th century have roles marked as bass that in reality
are low baritone roles (or bass-baritone parts in modern parlance).
Examples of this are to be found, for instance, in the operas and
oratorios of George Frideric Handel. The greatest and most enduring
parts for baritones in 18th-century operatic music were composed by
Wolfgang Amadeus Mozart. They include Count Almaviva in The Marriage
of Figaro, Guglielmo in Così fan tutte, Papageno in The Magic Flute
and the lead in Don Giovanni.In theatrical documents, cast lists, and
journalistic dispatches that from the beginning of the 19th century
till the mid 1820s, the terms primo basso, basse chantante, and
basse-taille were often used for men who would later be called
baritones. These included the likes of Filippo Galli, Giovanni
Inchindi, and Henri-Bernard Dabadie. The basse-taille and the proper
bass were commonly confused because their roles were sometimes sung by
singers of either actual voice part.
lies between the bass and the tenor voice-types. The term originates
from the Greek Î²Î±Ï Ï Ï„Î¿Î½Î¿Ï‚ (barýtonos), meaning "heavy
sounding". Composers typically write music for this voice in the range
from the second F below middle C to the F above middle C (i.e.
F2â€"F4) in choral music, and from the second G below middle C to the
G above middle C (G2 to G4) in operatic music, but the range can
extend at either end. Subtypes of baritone include the baryton-Martin
baritone (light baritone), lyric baritone, Kavalierbariton, Verdi
baritone, dramatic baritone, baryton-noble baritone, and the
bass-baritone.The first use of the term "baritone" emerged as
baritonans, late in the 15th century, usually in French sacred
polyphonic music. At this early stage it was frequently used as the
lowest of the voices (including the bass), but in 17th-century Italy
the term was all-encompassing and used to describe the average male
choral voice.Baritones took roughly the range as it is known today at
the beginning of the 18th century, but they were still lumped in with
their bass colleagues until well into the 19th century. Many operatic
works of the 18th century have roles marked as bass that in reality
are low baritone roles (or bass-baritone parts in modern parlance).
Examples of this are to be found, for instance, in the operas and
oratorios of George Frideric Handel. The greatest and most enduring
parts for baritones in 18th-century operatic music were composed by
Wolfgang Amadeus Mozart. They include Count Almaviva in The Marriage
of Figaro, Guglielmo in Così fan tutte, Papageno in The Magic Flute
and the lead in Don Giovanni.In theatrical documents, cast lists, and
journalistic dispatches that from the beginning of the 19th century
till the mid 1820s, the terms primo basso, basse chantante, and
basse-taille were often used for men who would later be called
baritones. These included the likes of Filippo Galli, Giovanni
Inchindi, and Henri-Bernard Dabadie. The basse-taille and the proper
bass were commonly confused because their roles were sometimes sung by
singers of either actual voice part.
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