Баритон: Тип мужского голоса в классической музыке

Type of classical male vocal range
the male voice type

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 βαρύτονος (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. F2–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.

There are 19th century references in the musical literature to certain baritone subtypes. These include the light and tenorish baryton Martin, named after French singer Jean Blaise Martin (1768/69–1837), and the deeper, more powerful Heldenbariton (today's bass baritone) of Wagnerian opera. Perhaps the most accomplished Heldenbaritons of Wagner's day were August Kindermann, Franz Betz and Theodor Reichmann. Betz created Hans Sachs in Die Meistersinger and undertook Wotan in the first Der Ring des Nibelungen cycle at Bayreuth, while Reichmann created Amfortas in Parsifal, also at Bayreuth. Lyric German baritones sang lighter Wagnerian roles such as Wolfram in Tannhäuser, Kurwenal in Tristan und Isolde or Telramund in Lohengrin. They made large strides, too, in the performance of art song and oratorio, with Franz Schubert favouring several baritones for his vocal music, in particular Johann Michael Vogl. Nineteenth century operettas became the preserve of lightweight baritone voices. They were given comic parts in the tradition of the previous century's comic bass by Gilbert and Sullivan in many of their productions. This did not prevent the French master of operetta, Jacques Offenbach, from assigning the villain's role in The Tales of Hoffmann to a big voiced baritone for the sake of dramatic effect. Other 19th century French composers like Meyerbeer, Hector Berlioz, Camille Saint Saëns, Georges Bizet and Jules Massenet wrote attractive parts for baritones, too. These included Nelusko in L'Africaine (Meyerbeer's last opera), Mephistopheles in La damnation de Faust (a role also sung by basses), the Priest of Dagon in Samson and Delilah, Escamillo in Carmen, Zurga in Les pêcheurs de perles, Lescaut in Manon, Athanael in Thaïs and Herod in Hérodiade. Russian composers included substantial baritone parts in their operas. Witness the title roles in Peter Tchaikovsky's Eugene Onegin (which received its first production in 1879) and Alexander Borodin's Prince Igor (1890). Mozart continued to be sung throughout the 19th century although, generally speaking, his operas were not revered to the same extent that they are today by music critics and audiences. Back then, baritones rather than high basses normally sang Don Giovanni – arguably Mozart's greatest male operatic creation. Famous Dons of the late 19th and early 20th centuries included Scotti and Maurel, as well as Portugal's Francisco D'Andrade and Sweden's John Forsell. The verismo baritone, Verdi baritone, and other subtypes are mentioned below, though not necessarily in 19th century context.

The dawn of the 20th century opened up more opportunities for baritones than ever before as a taste for strenuously exciting vocalism and lurid, "slice of life" operatic plots took hold in Italy and spread elsewhere. The most prominent verismo baritones included such major singers in Europe and America as the polished Giuseppe De Luca (the first Sharpless in Madama Butterfly), Mario Sammarco (the first Gerard in Andrea Chénier), Eugenio Giraldoni (the first Scarpia in Tosca), Pasquale Amato (the first Rance in La fanciulla del West), Riccardo Stracciari (noted for his richly attractive timbre) and Domenico Viglione Borghese, whose voice was exceeded in size only by that of the lion voiced Titta Ruffo. Ruffo was the most commanding Italian baritone of his era or, arguably, any other era. He was at his prime from the early 1900s to the early 1920s and enjoyed success in Italy, England and America (in Chicago and later at the Met). The chief verismo composers were Giacomo Puccini, Ruggero Leoncavallo, Pietro Mascagni, Alberto Franchetti, Umberto Giordano and Francesco Cilea. Verdi's works continued to remain popular, however, with audiences in Italy, the Spanish speaking countries, the United States and the United Kingdom, and in Germany, where there was a major Verdi revival in Berlin between the wars. Outside the field of Italian opera, an important addition to the Austro German repertory occurred in 1905. This was the premiere of Richard Strauss's Salome, with the pivotal part of John the Baptist assigned to a baritone. (The enormous voiced Dutch baritone Anton van Rooy, a Wagner specialist, sang John when the opera reached the Met in 1907). Then, in 1925, Germany's Leo Schützendorf created the title baritone role in Alban Berg's harrowing Wozzeck. In a separate development, the French composer Claude Debussy's post Wagnerian masterpiece Pelléas et Mélisande featured not one but two lead baritones at its 1902 premiere. These two baritones, Jean Périer and Hector Dufranne, possessed contrasting voices. (Dufranne – sometimes classed as a bass baritone – had a darker, more powerful instrument than did Périer, who was a true baryton Martin.) Characteristic of the Wagnerian baritones of the 20th century was a general progression of individual singers from higher lying baritone parts to lower pitched ones. This was the case with Germany's Hans Hotter. Hotter made his debut in 1929. As a young singer he appeared in Verdi and created the Commandant in Richard Strauss's Friedenstag and Olivier in Capriccio. By the 1950s, however, he was being hailed as the top Wagnerian bass baritone in the world. His Wotan was especially praised by critics for its musicianship. Other major Wagnerian baritones have included Hotter's predecessors Leopold Demuth, Anton van Rooy, Hermann Weil, Clarence Whitehill, Friedrich Schorr, Rudolf Bockelmann and Hans Hermann Nissen. Demuth, van Rooy, Weil and Whitehill were at their peak in the late 19th and early 20th centuries while Schorr, Bockelmann and Nissen were stars of the 1920s and 1930s. In addition to their heavyweight Wagnerian cousins, there was a plethora of baritones with more lyrical voices active in Germany and Austria during the period between the outbreak of WW1 in 1914 and the end of WW2 in 1945. Among them were , Heinrich Schlusnus, Herbert Janssen, Willi Domgraf Fassbaender, Karl Schmitt Walter and Gerhard Hüsch. Their abundant inter war Italian counterparts included, among others, Carlo Galeffi, Giuseppe Danise, Enrico Molinari, Umberto Urbano, Cesare Formichi, Luigi Montesanto, Apollo Granforte, Benvenuto Franci, Renato Zanelli (who switched to tenor roles in 1924), Mario Basiola, Giovanni Inghilleri, Carlo Morelli (the Chilean born younger brother of Renato Zanelli) and Carlo Tagliabue, who retired as late as 1958. One of the best known Italian Verdi baritones of the 1920s and 1930s, Mariano Stabile, sang Iago and Rigoletto and Falstaff (at La Scala) under the baton of Arturo Toscanini. Stabile also appeared in London, Chicago and Salzburg. He was noted more for his histrionic skills than for his voice, however. Stabile was followed by Tito Gobbi, a versatile singing actor capable of vivid comic and tragic performances during the years of his prime in the 1940s, 1950s and early 1960s. He learned more than 100 roles in his lifetime and was mostly known for his roles in Verdi and Puccini operas, including appearances as Scarpia opposite soprano Maria Callas as Tosca at Covent Garden. Gobbi's competitors included Gino Bechi, Giuseppe Valdengo, Paolo Silveri, Giuseppe Taddei, Ettore Bastianini, Cesare Bardelli and Giangiacomo Guelfi. Another of Gobbi's contemporaries was the Welshman Geraint Evans, who famously sang Falstaff at Glyndebourne and created the roles of Mr. Flint and Mountjoy in works by Benjamin Britten. Some considered his best role to have been Wozzeck. The next significant Welsh baritone was Bryn Terfel. He made his premiere at Glyndebourne in 1990 and went on to build an international career as Falstaff and, more generally, in the operas of Mozart and Wagner. Perhaps the first famous American baritone appeared in the 1900s. It was the American born but Paris based Charles W. Clark who sang Italian, French and German composers. An outstanding group of virile voiced American baritones appeared then in the 1920s. The younger members of this group were still active as recently as the late 1970s. Outstanding among its members were the Met based Verdians Lawrence Tibbett (a compelling, rich voiced singing actor), Richard Bonelli, John Charles Thomas, Robert Weede, Leonard Warren and Robert Merrill. They sang French opera, too, as did the American born but also Paris based baritone of the 1920s, and 1930s Arthur Endreze. Also to be found singing Verdi roles at the Met, Covent Garden and the Vienna Opera during the late 1930s and the 1940s was the big voiced Hungarian baritone, Sandor (Alexander) Sved. The leading Verdi baritones of the 1970s and 1980s were probably Italy's Renato Bruson and Piero Cappuccilli, America's Sherrill Milnes, Sweden's Ingvar Wixell and the Romanian baritone Nicolae Herlea. At the same time, Britain's Sir Thomas Allen was considered to be the most versatile baritone of his generation in regards to repertoire, which ranged from Mozart to Verdi and lighter Wagner roles, through French and Russian opera, to modern English music. Another British baritone, Norman Bailey, established himself internationally as a memorable Wotan and Hans Sachs. However, he had a distinguished, brighter voiced Wagnerian rival during the 1960s, 70s, and 80s in the person of Thomas Stewart of America. Other notable post War Wagnerian baritones have been Canada's George London, Germany's Hermann Uhde and, more recently, America's James Morris. Among the late 20th century baritones noted throughout the opera world for their Verdi performances was Vladimir Chernov, who emerged from the former USSR to sing at the Met. Chernov followed in the footsteps of such richly endowed East European baritones as Ippolit Pryanishnikov (a favorite of Tchaikovski's), Joachim Tartakov (an Everardi pupil), Oskar Kamionsky (an exceptional bel canto singer nicknamed the "Russian Battistini"), Waclaw Brzezinski (known as the "Polish Battistini"), Georges Baklanoff (a powerful singing actor), and, during a career lasting from 1935 to 1966, the Bolshoi's Pavel Lisitsian. Dmitri Hvorostovsky and Sergei Leiferkus are two Russian baritones of the modern era who appear regularly in the West. Like Lisitsian, they sing Verdi and the works of their native composers, including Tchaikovsky's Eugene Onegin and The Queen of Spades. In the realm of French song, the bass baritone José van Dam and the lighter voiced Gérard Souzay have been notable. Souzay's repertoire extended from the Baroque works of Jean Baptiste Lully to 20th century composers such as Francis Poulenc. Pierre Bernac, Souzay's teacher, was an interpreter of Poulenc's songs in the previous generation. Older baritones identified with this style include France's Dinh Gilly and Charles Panzéra and Australia's John Brownlee. Another Australian, Peter Dawson, made a small but precious legacy of benchmark Handel recordings during the 1920s and 1930s. (Dawson, incidentally, acquired his outstanding Handelian technique from Sir Charles Santley.) Yet another Australian baritone of distinction between the wars was Harold Williams, who was based in the United Kingdom. Important British born baritones of the 1930s and 1940s were Dennis Noble, who sang Italian and English operatic roles, and the Mozartian Roy Henderson. Both appeared often at Covent Garden. Prior to World War II, Germany's Heinrich Schlusnus, Gerhard Hüsch and Herbert Janssen were celebrated for their beautifully sung lieder recitals as well as for their mellifluous operatic performances in Verdi, Mozart, and Wagner respectively. After the war's conclusion, Hermann Prey and Dietrich Fischer Dieskau appeared on the scene to take their place. In addition to his interpretations of lieder and the works of Mozart, Prey sang in Strauss operas and tackled lighter Wagner roles such as Wolfram or Beckmesser. Fischer Dieskau sang parts in 'fringe' operas by the likes of Ferruccio Busoni and Paul Hindemith as well as appearing in standard works by Verdi and Wagner. He earned his principal renown, however, as a lieder singer. Talented German and Austrian lieder singers of a younger generation include Olaf Bär, Matthias Goerne, Wolfgang Holzmair and Johannes Sterkel (which are also performing or have performed regularly in opera), Thomas Quasthoff, de and Christian Gerhaher. Well known non Germanic baritones of recent times have included the Italians Giorgio Zancanaro and Leo Nucci, the Frenchman François le Roux, the Canadians Gerald Finley and James Westman and the versatile American Thomas Hampson, his compatriot Nathan Gunn and the Englishman Simon Keenlyside.

The vocal range of the baritone lies between the bass and the tenor voice types. The baritone vocal range is usually between the second G below middle C (G) and the G above middle C (G). 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. F2–F4) in choral music, and from the second A below middle C to the A above middle C (A2 to A4) in operatic music.

Within the baritone voice type category are seven generally recognized subcategories: baryton Martin baritone (light baritone), lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton noble baritone, and the bass baritone.

In barbershop music, the baritone part sings in a similar range to the lead (singing the melody) however usually singing lower than the lead. A barbershop baritone has a specific and specialized role in the formation of the four part harmony that characterizes the style. The baritone singer is often the one required to support or "fill" the bass sound (typically by singing the fifth above the bass root) and to complete a chord. On the other hand, the baritone will occasionally find himself harmonizing above the melody, which calls for a tenor like quality. Because the baritone fills the chord, the part is often not very melodic. In bluegrass music, the melody line is called the lead. Tenor is sung an interval of a third above the lead. Baritone is the fifth of the scale that has the lead as a tonic, and may be sung below the lead, or even above the lead (and the tenor), in which case it is called "high baritone". Conversely, the more "soul" baritones have the more traditional timbre, but sing in a vocal range that is closer to the tenor vocal range. Some of these singers include David Ruffin, Wilson Pickett, Otis Redding, Tom Jones, Michael McDonald, and Levi Stubbs of the Four Tops.