Tenore di grazia

{{Lang|it|Tenore di grazia}}, also called {{Lang|it|leggero}} tenor{{efn|Often also called {{Lang|it|leggiero}} tenor,[https://www.ipasource.com/tenor#LYRISCHER_(HOHER)_TENOR_(c_to_c) "The Tenor Voice – Lyrischer (hoher) tenor (c to c)"], ipasource.com although that is not an Italian term.}} (graceful, light, and lightweight tenor, respectively), is a lightweight, flexible tenor voice type.Soreanu, Cristina. "Nineteenth Century’s Donizettian Singers and their Contribution to the Development of the Vocal Technique." Bulletin of the Transilvania University of Braşov, Series VIII: Performing Arts 2 (2014): 124–130.{{cite book|author=Enrico Stinchelli|title=Le stelle della lirica: i grandi cantanti della storia dell'opera|url=https://books.google.com/books?id=Ero8ou_KDKkC&pg=PA19|year=2002|publisher=Gremese Editore|isbn=978-88-8440-192-2|pages=19–}} The tenor roles written in the early 19th-century Italian operas are invariably leggero tenor roles, especially those by Rossini such as Lindoro in L'italiana in Algeri, Don Ramiro in La Cenerentola, and Almaviva in Il barbiere di Siviglia; and those by Bellini such as Gualtiero in Il pirata, Elvino in La sonnambula and Arturo in I puritani.{{cite book|author=Kent Carlson|title=The leggero tenor in opera: 1754–1793|url=https://books.google.com/books?id=_nA5AQAAIAAJ|date=2000|publisher=Garri Editions}}{{cite book|author1=Richard Boldrey|author2=Janet Bookspan|author3=Carol Kimball|title=Singers' edition, operatic arias: soubrette|url=https://books.google.com/books?id=RoMJAQAAMAAJ|year=1992|publisher=Pst|isbn=9781877761034}}{{cite book|author=George Henry Hubert Lascelles Earl of Harewood|author-link=George Henry Hubert Lascelles Earl of Harewood|title=Opera|url=https://books.google.com/books?id=eigKAQAAMAAJ|year=2000|publisher=Rolls House Publishing Company}} Many Donizetti roles, such as Nemorino in L'elisir d'amore and Ernesto in Don Pasquale, Tonio in La fille du régiment, are also tenore di grazia roles. One of the most famous leggero tenors of that period was Giovanni Battista Rubini, for whom Bellini wrote nearly all his operas.Walker, Evan. "The Fable of Adolphe Nourrit." Journal of Singing'' 64.4 (2008): 411.{{cite book|author=Nicholas Till|title=The Cambridge Companion to Opera Studies|url=https://books.google.com/books?id=1xGZzJQC4ZUC&pg=PA131|date=18 October 2012|publisher=Cambridge University Press|isbn=978-0-521-85561-7|pages=131–}}{{cite book|title=Storia della musica|url=https://books.google.com/books?id=7vSyk2Vd1VEC&pg=PA296|year=1995|publisher=Editoriale Jaca Book|isbn=978-88-16-43917-7|pages=296ff}}

Classification and range

The tenor leggero voice is often misclassified. There are several reasons for this, the first being the lower register of the leggero tenor.May, Joshua M. "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias." (2014).{{cite thesis|type= DMA|last=Brent|first=Joseph|title=Giovanni Paolo Bottesini as a composer for the tenor voice, as seen in his writing for Roberto Stagno, Angelo Masini, and Alberto Bozetti|publisher=University of Georgia|url=https://getd.libs.uga.edu/pdfs/brent_joseph_m_201412_dma.pdf|date=18 December 2014}}{{cite book|author=Michael Edward Henstock|title=Fernando De Lucia: son of Naples : 1860–1925|url=https://books.google.com/books?id=0dEHAQAAMAAJ|date=20 September 1990|publisher=Duckworth|isbn=978-0-7156-2325-1}}{{cite book|author=Dan H. Marek|title=Giovanni Battista Rubini and the Bel Canto Tenors: History and Technique|url=https://books.google.com/books?id=UInPGoC22V0C&pg=RA8-PA39|date=6 June 2013|publisher=Scarecrow Press|isbn=978-0-8108-8668-1|pages=8ff}} The leggero tenor can go quite low, approximately to G below low C G₂.{{cite book|title=Opera|url=https://books.google.com/books?id=-lQqAQAAIAAJ|date=March 2008|publisher=Rolls House Publishing Company}}{{cite book|title=Opera|url=https://books.google.com/books?id=-lQqAQAAIAAJ&pg=PA127|date=March 2008|publisher=Rolls House Publishing Company|pages=127ff}} Because of this, the leggero tenor is often misclassified as a baritone, normally a lyric baritone.{{cite book|author=Arthur Elson|title=The Book of Musical Knowledge: The History, Technique, and Appreciation of Music, Together with Lives of the Great Composers, for Music-lovers, Students and Teachers|url=https://archive.org/details/bookofmusicalkno00elsoiala|year=1915|publisher=Houghton Mifflin}}{{cite book|author1=Richard Boldrey|author2=Robert Caldwell|author3=Roger Pines|author4=Janet Bookspan|title=Singers' edition, operatic arias: lyric soprano, light lyric soprano|url=https://books.google.com/books?id=E4MJAQAAMAAJ|date=1 June 1992|publisher=Pst|isbn=9781877761027}} This voice might also be classified as another type of tenor such as dramatic tenor. However, the leggero tenor possesses something that the other tenors do not: an upper extension that when not fully developed, sounds almost like a falsetto.{{cite book|author=Helena Matheopoulos|title=Divo: great tenors, baritones, and basses discuss their roles|url=https://archive.org/details/divogreattenorsb00math|url-access=registration|date=1 November 1986|publisher=Harper & Row|isbn=978-0-06-015634-3}} This "falsetto" however is part of a full voice mechanism and is more connected to what appears to sound like the full voice than a falsetto would.{{cite book|author=Dan Marek|title=Singing: The First Art|url=https://archive.org/details/singingfirstart0000mare|url-access=registration|year=2007|publisher=Scarecrow Press|isbn=978-0-8108-5711-7|pages=[https://archive.org/details/singingfirstart0000mare/page/37 37ff]}}{{cite book|author=Francois Nouvion|title=Asile Hereditaire: The Life and Career of John O'Sullivan|url=https://books.google.com/books?id=BOZ80K9CyykC&pg=PA411|date=October 2012|publisher=Xlibris Corporation|isbn=978-1-4771-5123-5|pages=411ff}}{{Self-published inline|certain=yes|date=December 2017}} The upper extension normally starts around A-flat below Tenor High C and goes up to as high as the singer is comfortable with, normally E above High C and sometimes to F{{music|#}} or G.{{cite book|author=Naomi Adele André|title=Voicing Gender: Castrati, Travesti, and the Second Woman in Early-nineteenth-century Italian Opera|url=https://archive.org/details/voicinggendercas0000andr|url-access=registration|date=1 January 2006|publisher=Indiana University Press|isbn=0-253-34644-4|pages=[https://archive.org/details/voicinggendercas0000andr/page/127 127ff]}}{{cite book|author=Laura Williams Macy|title=The Grove Book of Opera Singers|url=https://books.google.com/books?id=N0zthpCZuAUC&pg=PA136|year=2008|publisher=Oxford University Press|isbn=978-0-19-533765-5|pages=136ff}} The highest vocal range needed in opera for this voice type is F above Tenor High C.{{cite book|author=Dorothea Link|title=Arias for Vincenzo Calvesi: Mozart's first Ferrando|url=https://books.google.com/books?id=StfDJHhkdVoC&pg=PR15|year=2011|publisher=A-R Editions|isbn=978-0-89579-717-9|pages=15ff}}{{cite book|author=Herbert Kupferberg|title=The book of classical music lists|url=https://books.google.com/books?id=WuvybJfFsIkC|date=8 November 1988|publisher=Penguin Books|isbn=978-0-14-011188-0}} This is sung as part of the role of Arturo in I puritani.{{cite book|title=Enciclopedia della musica|url=https://books.google.com/books?id=uB8KAQAAMAAJ|year=1972|publisher=Rizzoli Ricordi}}{{cite book|author1=Roger Alier Aixalà|author2=Roger Alier|title=Historia de la ópera|url=https://books.google.com/books?id=OvF1qSfDeqsC&pg=PA180|date=1 January 2002|publisher=Ediciones Robinbook|isbn=978-84-95601-66-7|pages=180ff}}{{cite book|author=Friedrich Lippmann|author-link=Friedrich Lippmann (musicologist)|title=Bericht|url=https://books.google.com/books?id=43kWAAAAIAAJ|year=1972|publisher=Böhlau Verlag|isbn=978-3-412-96772-7}}{{cite book|title=BBC Music Magazine|url=https://books.google.com/books?id=cso4AQAAIAAJ|year=2008|publisher=BBC Magazines}}

The light French lyric tenor is also often confused with the leggero tenor.{{cite book|author=Robert Cannon|title=Opera|url=https://books.google.com/books?id=PFkmwVtflq4C&pg=PA391|date=16 February 2012|publisher=Cambridge University Press|isbn=978-0-521-76302-8|pages=391ff}}{{cite book|author=Helena Matheopoulos|title=The great tenors: from Caruso to the present|url=https://books.google.com/books?id=qvoXAQAAIAAJ|date=28 September 1999|publisher=Vendome Press|isbn=9780865652033}} Examples of the French tradition of a light and lyrical voice can be found in roles such as Georges Brown in La dame blanche, Chapelou in Le postillon de Lonjumeau, Nadir in Les pêcheurs de perles, Vincent in Mireille, and Gérald in Lakmé.{{cite book|author=John Sullivan Dwight|title=Dwight's Journal of Music|url=https://books.google.com/books?id=02UPAAAAYAAJ&pg=PR128|year=1865|publisher=D.L. Balch|pages=128ff}}{{cite book|author=Gustav Kobbé|author-link=Gustav Kobbé|title=The Complete Opera Book|type=Illustrated|url=https://books.google.com/books?id=iSVzBQAAQBAJ|date=3 October 2014|publisher=B & R Samizdat Express|isbn=978-1-4554-4648-3}}{{cite book|title=RM, rassegna musicale italiana|url=https://books.google.com/books?id=eWo9AQAAIAAJ|year=1997|publisher=Rassegna musicale italiana}}

References

Notes

Citations

Tenore di grazia

Classification and range

References

Further reading