Soprano/tenor duet suggestions?
Melanie Lynch
play with my very own tenor!! (Well, maybe not my *very* own but U get
to sing with him anyway). Consequently, I need to expand my repertoire.
Other than Brigadoon and Showboat, I am in search of suggestions because
I am simply drawing a blank on possibilities (must be a senior moment).
. We both have at least D's, so there's not a whole lot of range
limitation. Bright ideas are needed!!
Melanie
MagicPantz
-MagicPantz
Site Address: http://hometown.aol.com/magicpantz/index.html
BdwyBear
>
"Oh Happy We" and "You Were Dead You Know" from CANDIDE
"Tonight" and "One Hand, One Heart" from WEST SIDE STORY
"Make a Miracle" from WHERE'S CHARLEY
"I Have Dreamed" and "We Kiss in the Shadows" from THE KING AND I
Bart
Jennifer Pitkin
Melanie Lynch wrote:
> I have always ended up singing duets with baritones, but now I get to
> play with my very own tenor!! (Well, maybe not my *very* own but U get
> to sing with him anyway). Consequently, I need to expand my repertoire.
Sarah9165
-- Sarah ;o)
LilysEye
sop/tenor duet. Also:
"How Could I Ever Know" from The Secret Garden
"If I Loved You" from Carousel (it can be done as a duet, if you like)
"A Heart Full of Love" from Les Mis
Good Luck!
Julie
Martin Pasching
SUN AND MOON from Miss Saigon
LET´S PLAY A LOVE SEEEN from Fame
TOO MUCH IN LOVE TO CARE from Sunset Boulevard
Melanie Lynch schrieb in Nachricht <36A2DC...@chardonnay.org>...
Dalila
> I have always ended up singing duets with baritones, but now I get to
> play with my very own tenor!! (Well, maybe not my *very* own but U get
> to sing with him anyway). Consequently, I need to expand my repertoire.
> Other than Brigadoon and Showboat, I am in search of suggestions because
> I am simply drawing a blank on possibilities (must be a senior moment).
> . We both have at least D's, so there's not a whole lot of range
> limitation. Bright ideas are needed!!
CANDIDE - O Happy We; You Were Dead You Know
WEST SIDE STORY - Tonight; One Hand, One Heart
ASPECTS OF LOVE - Seeing is Believing
KISMET - Stranger in Paradise
SHOW BOAT - Make Believe; You Are Love (Gaylord Ravenal was originally a
tenor; he was transposed downward by Hollywood for the '50s remake.)
THE CAT AND THE FIDDLE (Jerome Kern) - The Night was Made for Love; I
Watch the Love Parade
THE KING AND I - I Have Dreamed
LES MISERABLES - A Heart full of Love
THE MYSTERY OF EDWIN DROOD - Perfect Strangers
HALF A SIXPENCE - Long Ago
FLOWERS FOR ALGERNON - Whatever Time there is
HELLO, DOLLY - It Only takes a Moment
ROBERT AND ELIZABETH - I Know Now; In a Simple Way
LOCK UP YOUR DAUGHTERS - Lovely Lover; Kind Fate; On a Sunny Sunday
Morning
PHANTOM OF THE OPERA - Phantom of the Opera; Point of No Return
Then there are LOTS of things from operetta - let me know if you're
interested in those too and I'll list some.
Dalila
=====
Ce n'est pourtant pas la voix
Qui me fait defaut, je crois;
Non, c'est la methode!
Dalila
originated the role on Broadway.
On the other hand, "Soon it's Gonna Rain", and
"They Were You" from another Orbach show, THE FANTASTICKS, would work,
because The Boy is a tenor who sings with The Girl, a
(mezzo)soprano.
Dalila
=====
Dalila
Dalila
not tenors.
I agree with your LES MIS and SHOW BOAT suggestions, and would also add
"You Are Love" from SHOW BOAT.
Dalila
=====
Abfou
>The leading man in CARNIVAL is a baritone, not a tenor; Jerry Orbach
>originated the role on Broadway.
>On the other hand, "Soon it's Gonna Rain", and
>"They Were You" from another Orbach show, THE FANTASTICKS, would work,
>because The Boy is a tenor who sings with The Girl, a
>(mezzo)soprano.
>Dalila
__________________________
Unless they rewrote the role for me when I played it [sudden coughing
fit] years ago, the Boy is not a tenor, not even a "bari-tenor." As I
recall (and this is strictly from memory so I welcome fact-checking),
Matt has no high G's and only one sustained F (the end of "I Can See
It"). Mostly he stays in a comfortable "if I can sing, you can sing"
range, from low B (where all his songs rest comfortably) to
not-so-high D (his money note).
This is only a step away from Paul's (Orbach's) range in CARNIVAL! He
bottoms out around B or B-flat (I think in the "Her Face" counterpoint
to "I Hate Him" he has to growl a low A) and has a few high E-flats,
popping an F in "I've Got to Find a Reason."
Abfou
Shaw Thompson
Sarah9165 wrote in message <19990118164701...@ng-fq1.aol.com>...
>"I'll Know" from Guys and Dolls
I've Never Been in Love Before from Guys and Dolls
Almost Like Being IN Love from Brigadoon
We Kiss in a Shadow - The King and I
I Have Dreamed - The King and I
You Are Love, Make Believe - Showboat
The List goes on.....
If you can tell me general style and quality of the voices, I could probably
recommend many more. I am a tenor married to a soprano, so I am somewhat
familiar with rep.
Shaw
LilysEye
Dalila wrote:
:Archy in SECRET GARDEN and Billy Bigelow in CAROUSEL are both :baritones,
:not tenors.
since when? If Billy were only a baritone, there's no way he could sing the
end of "Soliliquey." and Archie would definitely have a hard time with such
songs as "Lily's Eyes" and "Race You To the Top of the Mountain." Neville is
the lower singing part of that show.
Just my thoughts,
Julie
Sarah9165
Thank you..people are telling me that the role of Sky Masterson isn't (or
couldn't be) a tenor role. Everytime I've worked on this show Sky as been
played by a guy who is a tenor.
Live, Love, Laugh, & Ride-
--Sarah
Dalila
> Unless they rewrote the role for me when I played it [sudden coughing
> fit] years ago, the Boy is not a tenor, not even a "bari-tenor." As I
> recall (and this is strictly from memory so I welcome fact-checking),
> Matt has no high G's and only one sustained F (the end of "I Can See
> It"). Mostly he stays in a comfortable "if I can sing, you can sing"
> range, from low B (where all his songs rest comfortably) to
> not-so-high D (his money note).
>
But _fach_ has to do with more than just the range of the songs. It also
has to do with the tessitura, and in the case of the Boy in FANTASTICKS,
it has most of all to do with the colour and timbre of the voice that is
appropriate for the character. The people I've heard do the role have all
been either tenors or very light lyric baritones - i.e., voices that have
an extremely youthful, even adolescent, quality to them. A darker
baritone voice would simply be wrong from a characterisation standpoint.
Dalila
Abfou
>Dalila
_________________________
Nonetheless (and I agree with most of what you say), both the range
_and_ the tessitura are way too low for a tenor's voice -- certainly
for his vanity. Actually, trying to pigeonhole this and many other
musical theater roles into this or that "legit" category may be
meaningless. The Boy is (rather craftily) written for an _untrained_
voice. Most actors with the right light, youthful timbre are
undeveloped tenors; train them and they lose those necessary low B's.
The great advantage is that the part, with its reams of blank verse,
can be cast for acting ability -- and fach the tessitura. Sorry.
Abfou
David Zack
>undeveloped tenors; train them and they lose those necessary low B's.
There are actually quite a few tenors who have that low B. (And many have a
low A, for that matter) In musical theatre, tenor roles tend to dip into the
baritone register. And baritone roles get pretty high. The line has
definitely blurred, and voice is often typed more by timbre than by range.
These days as a tenor, you need those low notes. Bobby in Company, Jean
Valjean, Anatoly in Chess, George in Sunday in the Park with George, and many
others all range from a low B-flat or A to at least a G-sharp or A. (Valjean
has a B-natural and a C, though the C is half-screamed)
David
Abfou
>David
________________
Yes, but do you want those Bobbys, Jeans, Anatolys and Georges playing
The Boy in THE FANTASTICKS? Me neither. My point is that good young
(no more than late teens) actors with a light, boyish sound but a
baritone range are usually undeveloped tenors. And, to preserve our
planet's limited supply of Matts, we should leave them alone lest they
shift their range, start talking about the "mask," and sneak lifts
into their shoes.
Abfou
MARK ANDREW PETERSON
Billy is definitely a baritone role. Even though the end
of Soliloquy is quite high, an operatic baritone can -- and must! --
handle it. In this instance, the range of the repertoire is less
important than the timbre of the voice required. Billy needs a big, dark
baritone -- not a light tenor!
About Archibald, I think that a lighter, gentler tenor sound is more
appropriate. Here are my two cents -- Mandy Patinkin has a very heavy
sound in his upper register, unless he is using falsetto -- I think that's
why he gets on the nerves of so many people. He has to use that falsetto
to lighten it up.
Mark
Dalila
> About Archibald, I think that a lighter, gentler tenor sound is more
> appropriate. Here are my two cents -- Mandy Patinkin has a very heavy
> sound in his upper register, unless he is using falsetto -- I think that's
> why he gets on the nerves of so many people. He has to use that falsetto
> to lighten it up.
That's because Mandy is definitely a baritone, and a pretty full-voiced
one. If he sang "legit" all the time, his real vocal color and timbre
would make it instantly apparent. AS it is, I've heard him in concert a
few times, and when he sings in the middle part of his range, it's
patently obvious he's truly a baritone - and it's a really NICE baritone
too - I wish he'd use it all the time, instead of that little falsetto
he's so fond of.
To be honest, I much preferred Anthony Warlow's Archy to Mandy's (I admit
to hearing them both only on CD). Warlow is a lyric tenor (at least
that's what he sang when he was with the Australian Opera) but one with a
very bright color to his voice - he's what I'd consider a "baritenor" -
perfect for roles like Danilo in THE MERRY WIDOW, and Archy in THE SECRET
GARDEN, as well as Erik in PHANTOM OF THE OPERA and Valjean in LES MIS.
Dalila
Jennifer Barber
Dalila <dal...@radix.net> wrote:
>to hearing them both only on CD). Warlow is a lyric tenor (at least
>that's what he sang when he was with the Australian Opera) but one with a
Really? I've always been under the impression that he sang baritone with
the AO. And he's always called himself "a baritone with a bright top" in
all the interviews I've seen/read...and I should think he's well-trained
enough to know which he is!
jennifer
--
Uwe Kroeger page: http://www.mindspring.com/~jlbarber/kroeger.html
Elisabeth page: http://members.aol.com/jlbarber/eljen.html
"Ein Leben ohne Buecher waer' Tortur!"
--Michael Kunze, "Buecherlied", _Tanz der Vampire_
David Zack
>>that's what he sang when he was with the Australian Opera) but one with a
>
>Really? I've always been under the impression that he sang baritone with
>the AO. And he's always called himself "a baritone with a bright top" in
>all the interviews I've seen/read...and I should think he's well-trained
>enough to know which he is!
>
>jennifer
I wasn't going to say anything, since this comes up all the time, but since
somebody else went first...
Warlow is a baritone. Listen to his solo albums and you'll hear his excellent
lower register. If you listen to "Stand Up and Fight" or "Were thine that
special face," there is no doubt. The man's a baritone.
Beyond that, Warlow has practically flawless technique! He knows how to
lighten his tone to sound more like a tenor as the song demands - which is why
is is often mistaken for a tenor. Most baritones who sing an A (those that
can) sing it with so much cover, that it is clearly "flipped". When Warlow
does it, you simply cannot tell. He knows how to almost completely disguise
his break (which is right about the G, where most high baritones and tenor
flip). And he knows how to change gears and sing in the proper style of the
song. For the contemporary material, he knows how to straight-tone, a trick
that most singers accomplish by doing potentially harmfull things, like using
throat muscles and not using enough air.
A lot can be learned from listening to Anthony Warlow albums.
David
HOSS
Try "All I ask of you"
from Phantom of the opera
Ruth Hansen
don't get MOSTLY high notes.
Ruth Hansen
On 19 Jan 1999 18:41:39 GMT, lily...@aol.com (LilysEye) wrotd:
>
>Dalila wrote:
>:Archy in SECRET GARDEN and Billy Bigelow in CAROUSEL are both :baritones,
>:not tenors.
>
>since when? If Billy were only a baritone, there's no way he could sing the
>end of "Soliliquey." and Archie would definitely have a hard time with such
>songs as "Lily's Eyes" and "Race You To the Top of the Mountain." Neville is
>the lower singing part of that show.
>
>Just my thoughts,
>
>Julie
>
Ruth Hansen
Chicago, IL
:::::::::
You can get farther with a kind word
and a two by four than you can
with just a kind word.
f...@pipeline.com
>Yup, Billy's a baritone. Baritones get high notes, too -- they just
>don't get MOSTLY high notes.
>Ruth Hansen
>On 19 Jan 1999 18:41:39 GMT, lily...@aol.com (LilysEye) wrotd:
>>
>>Dalila wrote:
>>:Archy in SECRET GARDEN and Billy Bigelow in CAROUSEL are both :baritones,
>>:not tenors.
I feel that Archie is a baritenor. I invite any non baritenor to try
Lily's Eyes, it's a killer. The guy who played the role in my
production is definately a tenor (he also sang Joey in "Most Happy
Fella).
Monica
Christian L Wiktor
Yours,
Ann
Ruth Hansen (song...@thewatercooler.com) wrote:
: Yup, Billy's a baritone. Baritones get high notes, too -- they just
: don't get MOSTLY high notes.
: Ruth Hansen
: On 19 Jan 1999 18:41:39 GMT, lily...@aol.com (LilysEye) wrotd:
: >
: >Dalila wrote:
: >:Archy in SECRET GARDEN and Billy Bigelow in CAROUSEL are both :baritones,
: >:not tenors.
: >
: >since when? If Billy were only a baritone, there's no way he could sing the
: >end of "Soliliquey." and Archie would definitely have a hard time with such
: >songs as "Lily's Eyes" and "Race You To the Top of the Mountain." Neville is
: >the lower singing part of that show.
: >
: >Just my thoughts,
: >
: >Julie
: >
: Ruth Hansen
: Chicago, IL
: :::::::::
twomules
It was played on the radio about two years ago (might have been a special
recording) and he was SOOOO anguished! It was fabulous!!!
TM
Michelle McFee
>
> I've got the CD with him doing Soliloquy on it. It's just called Mandy
> Patinkin and its on CBS Records Label......
I have it, too, and believe me, he should have left SOLILOQUY to Patrick
Wilson... Billy Bigelow, Mandy ain't.