How high have you heard a baritone sing?
Jonathan & Lena Andrews
The highest I have ever heard (non-falseto) is as follows.
Thomas Hampson - High C in a Largo al factotum
Leo Nucci, and a few others take the A in the largo.
What other mind numbing high notes have you heard from baritones?
Jonathan
janeh...@*no-spam*hotmail.com
well . . . the last time Sherrill Milnes backed into a radiator . . .
-- to reply by e-mail, remove the obvious
Placido 21
Hi..Milnes takes B flat atbthe end of act two Traviata w.Sills from hollywood
Bowl..ah FermAHHHHH! and at the end of some trovatores he does the a VIIIIIIVI
ancore on B flat..plus the Attila cabaletta on records and cappouccilli also
takes it in Scala live. I heard a baritone Norman Atkins go UP at the end of
the happy fella song,"Mamma Mamma" and take a b Flat...these were all full
voice.
I once pitched one of Warren's cries of GILDAHHHHH at the end of act two
Rigoletto at around a D....he had a phenomenal top..was reputed to sing at
parties a C at the end of the largo al factotum..... That is what I can
recall.. CH
Claud H. Shirley III
Placido 21 wrote:
>
> Hi..Milnes takes B flat etc.
Also, Milnes can be heard singing a grace-note B natural at the end of
the Rigoletto recording with Sutherland - and there's a well-sustained B
flat during a cadenza in the duet with Lucia in Act 2, also in the
Sutherland 2nd recording. Undoubtedly, Charlie is right about Leonard
Warren. In a number of performances he can be heard emitting
unbelievably powerful sounds with his cries of Gilda, pitched anywhere
between High B and High D. MacNeil imitated this on various occasions,
and did very well, but only up to about an A.
I heard Hampson's C - it was flutey.
Another sharply hit very high note is taken by Rolando Panerai on the
single word "Chi?!" during the duet with Falstaff in the Bernstein
recording.
James Jorden
Milnes used to sing up to the high C-sharp in the finale of RIGOLETTO.
There's a famous recording of Cappucilli singing a terrific high B-flat
in the ATTILA aria.
--
james jorden
jjo...@ix.netcom.com
latest opera gossip from parterre box:
http://www.anaserve.com/~parterre/lacieca.htm
Michael Black
Chas wrote:
> Generalizing, a well-trained baritone can phonate vibrant musical pitches as
> high as most tenors. No big deal. Ciao Babes!
Yes, for the most part this is true. The sad thing is when teachers and coaches
call a baritone a TENOR just because they can sing a high C. The BIG difference
between a tenor and a baritone, is that the tenor's tessitura is about a third
to a fifth higher than that of the baritone. ALTHOUGH, I know of no baritone
rep. that actually asks the baritone to sing anything higher than the occasional
A flat and the very rare high A. But as I always say, "IF you've got it, flaunt
it!"
--
"Dolora Zajick Rules!!! Any questions?"
http://www.stairway.org/bjorling/
My Suggested Recordings
http://www.stairway.org/bjorling/suggest.htm
Mike Richter
Jonathan & Lena Andrews wrote:
>
> The highest I have ever heard (non-falseto) is as follows.
>
> Thomas Hampson - High C in a Largo al factotum
>
> Leo Nucci, and a few others take the A in the largo.
>
> What other mind numbing high notes have you heard from baritones?
>
> Jonathan
FWIW: I have posted on this at my WWW site. Prey did a beautiful B-flat
in Trompeter von Saekingen (forgive the spelling; I'm too lazy to
check), but Warren was the winner. I posted the high C's - full voice
and trumpeted - that he used in 'Gilda, mia Gilda'.
Still, there's little question that he was a baritone.
Mike
--
mric...@mindspring.com
http://mrichter.simplenet.com
CD-R http://resource.simplenet.com
Matthew B. Tepper
In article <6hb2v7$m...@news1.kcnet.com>, andr...@kcnet.com spake unto
the unwashed masses:
>
>The highest I have ever heard (non-falseto) is as follows.
>
>Thomas Hampson - High C in a Largo al factotum
>
>Leo Nucci, and a few others take the A in the largo.
>
>
>What other mind numbing high notes have you heard from baritones?
>
>Jonathan
Sherrill Milnes as Rigoletto used to throw in a high B in "Pari siamo."
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://www.deltanet.com/~ducky/index.htm
My main music page --- http://www.deltanet.com/~ducky/berlioz.htm
And my science fiction club's home page --- http://www.lasfs.org/
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Chas
Generalizing, a well-trained baritone can phonate vibrant musical pitches as
high as most tenors. No big deal. Ciao Babes!
--
"Eschew Obfuscation"--- William F. Buckley
Jonathan & Lena Andrews wrote in message <6hb2v7$m...@news1.kcnet.com>...
The Clark Family
I don't know if this really counts, but since Yoshikazu Mera sings both
baritone and countertenor, I would say a high F.
-Graham Clark
paolo
Not long ago I heard a baritone who was stoned out of his mind ... which probably
makes him the "highest" baritone I've heard sing.
CLewis2666
that just proves that Hampson, a superstar i admire enormously, is a high
baritone who should not sing the Italian baritone classic roles (eg Verdi) (as
i have long thought).
Charles Lewis from London
Shaw Thompson
Matthew B. Tepper <ducky兀deltanet.com> wrote in article
<6hbjfu$bcf$5...@news01.deltanet.com>...
> In article <6hb2v7$m...@news1.kcnet.com>, andr...@kcnet.com spake unto
> the unwashed masses:
> >
> >Doesn't Milnes interpolate a B-flat on the final "la maledizione" on the
London Rigoletto with Pav and Sutherland. I know he does a B on "Resta
immobile" from Tell. I still think he has the best top!
>
Michael Black
Shaw Thompson wrote:
> Doesn't Milnes interpolate a B-flat on the final "la maledizione" on the
> London Rigoletto with Pav and Sutherland. I know he does a B on "Resta
> immobile" from Tell. I still think he has the best top!
Have you listened to Warren?
Steve Silverman
Michael Black wrote
>Have you listened to Warren?
>
As much as I like Warren, and admire his top, there is a buzzy quality about
Milnes's high notes that makes them particularly thrilling.
Steve Silverman
Michael Black
Steve Silverman wrote:
And as much as I like Milnes, no baritone's high notes that I've ever heard have
been able to compare to Warren's. The man was a god! If I were a baritone, I'd
want his vocal cords.
donpaolo
Michael Black <bjoe...@cyberdude.com> wrote in article
<3540A789...@cyberdude.com>...
> Have you listened to Warren?
>
Mi greatest idol, as you well know. Rumor has it that he could sing a
high C. Not on stage, however. When he recorded his second DiLuna, with
Price & Tucker, during a break, it was reported that he "showed" Tucker,
his good friend, how to sing the pira.
Regards,
DonP.
donpaolo
Michael Black <bjoe...@cyberdude.com> wrote in article
<3540B496...@cyberdude.com>...
> Steve Silverman wrote:
>
> > Michael Black wrote
> >
> > >Have you listened to Warren?
> > >
> > As much as I like Warren, and admire his top, there is a buzzy quality
about
> > Milnes's high notes that makes them particularly thrilling.
>
> And as much as I like Milnes, no baritone's high notes that I've ever
heard have
> been able to compare to Warren's. The man was a god! If I were a
baritone, I'd
> want his vocal cords.
>
> --
> "Dolora Zajick Rules!!! Any questions?"
> http://www.stairway.org/bjorling/
> My Suggested Recordings
> http://www.stairway.org/bjorling/suggest.htm
>
Hey Guys, let's not forget MacNeil. While far from being a favorite
bacause of that tremolo, he sang the Hell out of Carlo in Ernani & Barnaba.
I can still hear that "O deh verd'anni miei" & "Or somo Carlo" - the house
exploded!
DonP.
stuart little
Michael Black
donpaolo wrote:
> Mi greatest idol, as you well know. Rumor has it that he could sing a
> high C. Not on stage, however. When he recorded his second DiLuna, with
> Price & Tucker, during a break, it was reported that he "showed" Tucker,
> his good friend, how to sing the pira.
From what I understand, that was no rumor about him being able to sing a high
C. My coach, who used to have his voice lessons right after Warren (can you
imagine having to have a lesson after hearing that man sing???), states that
he used to sing high C's all the time. He also said that he would sit down
and sing Vesti la giubba for kicks at parties.
Shaw Thompson
Michael Black <bjoe...@cyberdude.com> wrote in article
<3540A789...@cyberdude.com>...
> >
> Have you listened to Warren?
>
>Yes, and I find him very satisfying. I also happen to agree with George
Jellinek that
Milnes and Warren sound very similar (at least on recording- I never heard
Warren live.)
Still, Warren's "Si puo" is better than Milnes anyday.
Point well taken with a grain of salt,
Shaw
>
>
>
GRNDPADAVE
>Subject: Re: How high have you heard a baritone sing?
>From: "donpaolo" <donp...@erols.com>
>Date: Fri, Apr 24, 1998 11:53 EDT
>Message-id: <01bd6f99$28c32900$463caccf@default>
>
>
>
>Michael Black <bjoe...@cyberdude.com> wrote in article
><3540A789...@cyberdude.com>...
>
>> Have you listened to Warren?
>>
>high C. Not on stage, however. When he recorded his second DiLuna, with
>Price & Tucker, during a break, it was reported that he "showed" Tucker,
>his good friend, how to sing the pira.
>
>
>DonP.
===========================
In 1959 when Warren made his second (and less satisfactory) recording of IL
TROVATORE, Richard Tucker had been a colleague for 13 years. I do not think
Tucker needed and received no lessons from Warren. I am fortunate to have them
in wonderful live recordings of SIMON BOCCANEGRA and LA FORZA DEL DESTINO. The
teamwork is phenomenal. They sing together. Neither is trying to upstage the
other. It brings to mind other wonderful tenor / baritone partnerships:
Bjoerling and Merrill, Caruso and Scotti, and, Maestro D.P., your preferred
duo: Domingo and Milnes.
But I do think we agree that Verdi's tenor / baritone duets are among the most
thrilling items the operatic literature offers.
All the best,
==G/P Dave
donpaolo
Grandpa -
I did not mean that literally; that's why I placed "showed" in quotes. I
also referred to Tucker as Warren's "friend", a fact of which I am well
aware. In fact, I recall that Tucker mentioned at one time that he was the
most frequent tenor partner of Warren's & that they had a great
relationship & respected each other tremendously as colleagues.
The reported incident took place during a break in the recording sessions &
represented nothing more than some friendly bantering.
Why do you find it necessary to jump on the slightest well-meaning &
harmless remark & respond in such a, I don't know, self-righteous manner?
You need to chill a bit.
BTW - you were half right as to my "preferred" duo:
I always liked Milnes :>)
Regards,
DonP.
.
GRNDPADAVE <grndp...@aol.com> wrote in article
<199804242121...@ladder01.news.aol.com>...
GRNDPADAVE
There were a number of outstanding baritones in the 1950s and 1960s. A lesser
known baritone of that period showed an unusual aptitude both for Verdi and
Wagner. I wonder whatever happened to him. I am referring to Josef
Metternich.
-
Of all the singers who have sung Wagner's Dutchman, I find Metternich's
recording (with the wonderful Ferenc Fricsay conducting) the most compelling.
This is a lyric baritone, not a bass baritone voice with a lovely nap to the
timbre. The voice is rather bright. And there is a very smooth legato.
-
Anybody ever hear of him?
==G/P Dave
Ed Rosen
Hi-
MacNeil had, without doubt, the most thrilling baritone top I have ever
heard. In 1959 I saw two Pagliacci performances. The first was with
Warren as Tonio, and he was simply magnificent. The second, about a
week later, was with MacNeil as Tonio, and he outdid Warren!!
Honestly, he really did. The top had more ring even than the great
Warren, and the Ab and G at the conlusion of the Prologue were
something one had to hear to believe.
As has been mentioned, his Ernani was unforgettable. He interpolated
some Ab's and even an A natural at the end of the O' sommo Carlo
ensemble. He always stole the show.
I never cared for Milnes at all, and his top was thin compared to
Warren and MacNeil. It was high- he sang some Bb's- but much thinner
than toe other two.
Cappuccilli capped the cabaletta in Attila with a stunning high Bb,
driving the Scala audience to delirium. He also would end Act 2 of
Traviata with a Bb on the word "ferma". He would sing the F as written
on the "fer", and then jump an octave up to a high Bb rather than go
down to the lower Bb as written.
Best,
Ed
Ed Rosen<e...@legatoclassics.com>
Legato Classics, Inc.
http://www.legatoclassics.com
GRNDPADAVE
>Subject: Re: How high have you heard a baritone sing?
>Date: Fri, Apr 24, 1998 23:49 EDT
>Message-id: <6hrmga$o...@sjx-ixn2.ix.netcom.com>
Ed,
While it's true that MacNeil had a magnificent voice (I remember being
asotounded by his early recording of Rance), he managed to be so bland in
temperament that no emotion registered. I also recall his Amonasro in the Von
Karajan recording. Compare the MacNeil denunciation with the hurricane of
Warren's portrayal in the Perlea recording.
I guess that may only go to show why there is so much more to great operatic
singing than having a superb voice. I think another baritone superbly endowed
vocally but not temperamentally was Mario Sereni.
Al the best,
G/P Dave
James Jorden
Last night I heard a baritone named Ed Rosen interpolate high A and
G-sharp into LA FORZA DEL DESTINO.
James Jorden
donpaolo wrote:
> I also referred to Tucker as Warren's "friend"
In fact they were a happily monogamous couple for almost 20 years.
After Warren's untimely death, Tucker sought consolation in the arms of
Anselmo Colzani, but it was never the same.
AT
i sang a trovatore with mcneill and was astounded when i first encountered
such a glorious voice. it was with martina and mccraken it was my first big
league shot, to tell you the truth, my first reaction was " what the hell am
i doing here" but everybodu was very supportive ( they all grabbed me as i
was running out the door) especially martina.
she is veery nice human being. and a tremendous artist.
a t >>
>>
>>MacNeil had, without doubt, the most thrilling baritone top I have ever
>>etc...........
Ed Rosen
In <3541E2...@ix.netcom.com> James Jorden <jjo...@ix.netcom.com>
writes:
But with Robert Merrill, it was even better.
598...@ican.net
In article <6hrmga$o...@sjx-ixn2.ix.netcom.com>,
lyr...@ix.netcom.com(Ed Rosen) wrote:
>
>
> Hi-
>
> MacNeil had, without doubt, the most thrilling baritone top I have ever
Yes, early in his career!
> I never cared for Milnes at all, and his top was thin compared to
> Warren and MacNeil. It was high- he sang some Bb's- but much thinner
> than toe other two.
I heard Milnes do Barber in his pre-Met days. Took the Stracciari high note
interpolations and the tone was rich and very secure up to the Bb. He soon
started doing a Leonard Warren immitation, and the rest, sadly, is history.
A few summers ago, I heard Mark Oswald sing a secure high C in a Barber at
Glimmerglass Opera.
Dan Carno
-----== Posted via Deja News, The Leader in Internet Discussion ==-----
http://www.dejanews.com/ Now offering spam-free web-based newsreading
Marc Musnick
Today, why are there so few baritones with good upper voices? Any
opinions?
Thomas Hampson is strong on top.
In the Verdi operas, there appears to be an extremely important need for
this. Milnes, in his earlier career had a very free and easy top. It
lasted for about five years including his City Opera days but he never
lost his volume. MacNeil and Mazurok were the only baritones, I heard
live, who consistently had "stunning" upper registers. MacNeil also
never lost his volume.
Warren, of whom I am only familiar with from recordings, studio and
live, (I was born too late) was the king of the high notes of baritones
and pianissimmi too. His Scarpia is actually believable in his
heartfelt love of Tosca. The Met broadcast of "Ernani" with Milanov,
del Monaco and Siepi is hair raising.
--
Marc Musnick
e-mail address: mmus...@bellatlantic.net
wk...@mindspring.com
In article <3545912E...@bellatlantic.net>,
Marc Musnick <mmus...@bellatlantic.net> wrote:
> Thomas Hampson is strong on top.
Unlike some of his contempories, Hampson has a top, but I'd hardly call it
'strong'. It lacks bite and squillo, and at anything like forte or above, it
sounds like yelling on pitches.
Bill
Jack Johnson
Marc Musnick wrote in message <3545912E...@bellatlantic.net>...
>Today, why are there so few baritones with good upper voices? Any
>opinions?
>
>Thomas Hampson is strong on top.
He sings a very convincing "Wintersturme" on his German Arias CD. Maybe
he's really a tenor.
Hvorostovskii also has a strong top, but I can't recall how high I've heard
it go.
NoiZe24
Have heard Milnes sing a high b flat - also he says that he can sing a high c -
dont know if he still can - but have heard many people say that he has ( had )
a STRONG b-c
Hornymd590
>He sings a very convincing "Wintersturme" on his German Arias CD. Maybe
>he's really a tenor.
It's transposed down according to the liner notes.
Dan
Charles Bollman
I once heard Bobby Merrill sing God Bless America on the observation floor
of the Empire State Building. That's pretty high. But I just know that
someone will claim that THEY heard Cornell MacN. sing Di Quella Pira on the
Concorde (or some such).
Hornymd590 wrote in message
<199805012250...@ladder01.news.aol.com>...
James Jorden
Charles Bollman wrote:
>
> I once heard Bobby Merrill sing God Bless America on the observation floor
> of the Empire State Building. That's pretty high. But I just know that
> someone will claim that THEY heard Cornell MacN. sing Di Quella Pira on the
> Concorde (or some such).
If you're checking to see if you're connected with the newsgroup, a
simple "test post" will do. Or was your post meant humorously? Ah no,
that can't be it.
Ed Rosen
In <354B65...@ix.netcom.com> James Jorden <jjo...@ix.netcom.com>
writes:
>Charles Bollman wrote:
>>
>> I once heard Bobby Merrill sing God Bless America on the observation
floor
>> of the Empire State Building. That's pretty high. But I just know
that
>> someone will claim that THEY heard Cornell MacN. sing Di Quella Pira
on the
>> Concorde (or some such).
>
It wasn't the Concorde- merely a 747. And the aria was Il balen, since
MacNeil is a baritone.
Ed
Shaw Thompson
If this posting was referring to Hampson, he can very easily sing tenor
rep. and did so
in many competitions in Washington State during his early career. His
repertoire is
mostly by choice and tone color rather than range. I heard him (live) sing
a high C in
Barber at Met on Sat. Mat. broadcast- sounded legit to me.
Shaw T.
Hornymd590 <horny...@aol.com> wrote in article
wk...@mindspring.com
In article <01bd777e$de716540$36ee64ce@shaw-thompson>#1/1,
"Shaw Thompson" <msu...@emeraldis.com> wrote:
> If this posting was referring to Hampson, he can very easily sing tenor
> rep. and did so
> in many competitions in Washington State during his early career.
Do you recall what arias/roles he sang then? I have to admit that I'm
skeptical, given the way he labors through "Winterstuerme..." from DIE
WALKUERE, one of the lowest "tenor" roles in the repertoire.
> His
> repertoire is
> mostly by choice and tone color rather than range. I heard him (live) sing
> a high C in
> Barber at Met on Sat. Mat. broadcast- sounded legit to me.
I didn't hear it, but I assume that you're talking about that high note in the
cadenza ("Figaro, Figaro, Figaro...". Plenty of singers take that high note;
the ability to sing a falsetto high C says nothing about one's top or
technique.
Benjamin Sears
In article <01bd777e$de716540$36ee64ce@shaw-thompson>,
"Shaw Thompson" <msu...@emeraldis.com> wrote:
>If this posting was referring to Hampson, he can very easily sing tenor
>rep. and did so
>repertoire is
>mostly by choice and tone color rather than range. I heard him (live) sing
>a high C in
>Barber at Met on Sat. Mat. broadcast- sounded legit to me.
>
>
>Hornymd590 <horny...@aol.com> wrote in article
><199805012250...@ladder01.news.aol.com>...
>> >He sings a very convincing "Wintersturme" on his German Arias CD. Maybe
>> >he's really a tenor.
>>
>> It's transposed down according to the liner notes.
>>
>> Dan
>>
duet, much to the consternation of the Otello of the evening.
james_...@smtplink.mssm.edu
> Supposedly Leonard Warren sometimes sang a high C at the end of the "Otello"
> duet, much to the consternation of the Otello of the evening.
Such a feat would cause consternation to more than just the Otello of the
evening: this duet ends in the key of B-flat major. Singing a high C at the
end would create a hideous dissonance.
It is true that some baritones join the tenor on the high B-flat; in some
cases more to the tenors' relief than their consternation.
Ed Rosen
In <6innus$5p9$1...@nnrp1.dejanews.com> james_...@smtplink.mssm.edu
writes:
The final note of "Si pel ciel" is an A natural. Recent baritones that
have sung this high A with the tenor include Cappuccilli and Milnes,
much to the relief of most Otellos.
The note written for the baritone of C#. If Warren sang a C# an octave
higher than written, it would be a miracle. I'm sure he didn't, or he
could have sung the tenor lead in Puritani!
It was said that he did sing "Di quella pira" at parties, complete with
two high C's. The thing to remember, however, is not an isolated high
note, but the tessitura of a role. I can sing a Bb, and even a B or C
occasionally, but that doesn't make me a tenor. I'm a baritone. If I
attempted a role like Otello, I would die vocally. The same with any
other tenor role. The "trick" is sustaining the tessitura of a role,
not being able to sing one or two "tenor" high notes.
Claud H. Shirley III
james_...@smtplink.mssm.edu wrote:
>
> Such a feat would cause consternation to more than just the Otello of the
> evening: this duet ends in the key of B-flat major. Singing a high C at the
> end would create a hideous dissonance.
>
A, the key of the duet is A major. Also I would call the combination of
a B-flat and a C, which is a major 2nd, unresolved, rather than
hideously dissonant. Now, if the tenor were singing a B flat, the
baritone a High C, and the orchestra playing in A major, that would
indeed be a startling, if not hideous, dissonance.
mdclark
On Fri, 15 May 1998 01:46:31 +1000, David Meadows
<dmea...@ozemail.com.australia> wrote:
>>>Hampson sings a very convincing "Wintersturme" on his German Arias CD. >>Maybe he's really a tenor.
>
> > It's transposed down according to the liner notes.
>
>Odd. The liner notes I read say that it's sung in the original key.
>
>D.M.
The highest note in "Wintersturme" is a G natural (pretty low!)......
while the tessitura of the role is relatively low (as tenor roles go)
the role would be very difficult for a baritone as it would sit in a
very uncomfortable (high) part of his passaggio for veeeery long
periods of time. I can sing a pretty good "Avant de quitter", but that
doesn't make me a baritone!
MDC
David Meadows
Frank Schneiders
There has been one performance here at Hannover/ Germany, where the
(indisposed) Cossutta and Capuccilli simply changed the roles in this
duet.
AT
ed would this che gelida be the same that is in the rca title "50 years of
great operatic singing" ? it was a red album with a selection of tenors,
schipa martinelli bjoerling melchior etc, if it is, i have listened to it.
and is the greatest i have heard.
a t
In the RCA
>version, the Che gelida manini would melt a stone with it's beauty.
>The high C is perfect and sustained forever.
>
RudiN123
If you can find the hilight LP of La Boheme with Albanese, di Stefano, Warren &
Munsel on RCA, Mr. Warren sings the B flat with the other three singers in the
quartet from Act III.
RN
Ed Rosen
In <199805250056...@ladder01.news.aol.com> rudi...@aol.com
I own this recording, and used to think the above was true. But if one
listens real carefully, you will hear that he does not.
He clearly comes in after the Bb, as Marcello is supposed to do.
Speaking of this LP, I think it's terrible that RCA would sit on such a
gem and not consider releasing it on CD. It's short- only about 45
minutes, but it's wonderful, and has been unavailable for 35 years.
Di Stefano, in 1951, was a much greater Rodolfo than Di Stefano in
1956, when he recorded the role complete with Callas. In the RCA
version, the Che gelida manini would melt a stone with it's beauty.
The high C is perfect and sustained forever.
Albanese is fine as Mimi, and Warren never sang Marcello on stage, so
it's interesting from that standpoint, too.
And Munsel sings Musetta's aria just fine.
Best,
Ed
Ed Rosen
In <6kaik9$a...@bgtnsc03.worldnet.att.net> "AT"
<qcom...@worldnet.att.net> writes:
>
>ed would this che gelida be the same that is in the rca title "50
years of
>great operatic singing" ? it was a red album with a selection of
tenors,
>schipa martinelli bjoerling melchior etc, if it is, i have listened to
it.
>and is the greatest i have heard.
>a t
>
>>version, the Che gelida manini would melt a stone with it's beauty.
>>The high C is perfect and sustained forever.
>>
>
Ed