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Baritone Arias

Lyric Baritone Verdi Baritone

Kavalierbariton Heldenbaritone
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THE BARITONE VOICE  
 
Since America produces some of the best baritones in the world, the baritone voice is essentially easy for us to relate to and categorize. The repertoire of the Lyrischerbariton is
perhaps less taxing as the other baritone Fächer but he must be a good actor and able to portray a variety of roles ranging from servants to noblemen, from comic to romantic. The
Kavalierbariton is the handsome cavalier of the opera, the Don Giovanni. This Fach is sung with an Italian warmth and a ringing top. The Charakterbariton has a more metallic sound
and the heavier dramatic repertoire. The Heldenbariton is not a common voice type but while it does not always require beauty in singing there is an overwhelming need for
expressive declamation and a powerful stage presents. 
 
Those arias most often heard in German Theater auditions are marked with *. Those arias heard in audition but not normally sung by the singer of this Fach in the opera house are
given in parenthesis.
 
 
LYISCHER (HOHER) BARITON/SPIELBARITON (B to g)
Lyric Baritone
 
A supple, exible voice with a mellow line an extended top.
 
The Spielbariton Fach is extremely important in the German opera houses, since he has many supporting roles of a varied character. This baritone must be a good actor and able to
sing equally well in all registers of his voice. He also must be willing sometimes, to play second to the dramatic baritone, as in the role of Silvio in I Pagliacci. It is not necessary to have a
high a at in order to sing this Fach, but it is necessary to have a good high g. Papageno in Die Zauber öte, Figaro in Der Barbier von Sevilla, Malatesta in Don Pasquale, Harlekin in
Ariadne auf Naxos and Dandini in La Cenerentola are typical Lyrisherbariton/Spielbariton roles.
Singers: Herman Prey, Gino Quilico, Gino Bechi
Example: Herman Prey, Ariadne auf Naxos
 

Harlekin * Ariadne auf Naxos Lieben, Hassen, Ho en, Zagen

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Figaro * Der Barbier von Sevilla Largo al factotum della città

Graf (Count) * Figaros Hochzeit Hai già vinta la causa
(Le nozze die Figaro)
Malatesta * Don Pasquale Bella siccome unangelo
Wolfram * Tannhäuser Blickt ich umher / O du mein holder Abendstern
Graf (Count) * Der Wildschütz Heiterkeit und Fröhlichkeit
     
Silvio Der Bajazzo (I Pagliacci) Decidi il mio destin
Dandini La Cenerentola Come un ape ne giorni d'aprile
Guglielmo Così fan tutte Donne mie la fate a tanti
Belcore Der Liebestrank (L'elisire damore) Come Paride vezzoso 
Valentin Margarethe (Faust) Avant de quitter ces lieux
Papageno Die Zauber öte All three Arias
 
KAVALIERBARITON (A to g#) 
Kavalierbaritone
 
A metallic voice, that can sing both lyric and dramatic phrases, a manly noble baritonal color, with good physical appearance.
 
The Kavalierbariton has a somewhat heavier voice than the Spielbariton and plays a more important role on the stage. He must be attractive enough to play Mandryka in Arabella, the
title role in Eugen Onegin, and the the Don in Don Giovanni. Unlike the Lyrischerbariton he must have the vocal quality to sing the Posa in Don Carlos and Germont in La Traviata.
Furthermore, he is generally entrusted with the role of the Count in both Le nozze di Figaro and Der Wildschütz.
Singers: Eberhard Wächter, Thomas Hampson, Sergei Leiferkus, Dmitri Hvorostovsky, Vladimir Chernov, Jorma Hynninen, Thomas Allen, Hakan Hagegard 
Example:  Thomas Hampson and Eberhard Wächter, Le nozze di Figaro
 

Onegin   * Eugen Onegin  Wenn mich für Häuslichkeit auf Erden

Graf (Count) * Figaros Hochzeit Hai già vinta la causa
Figaro Figaros Hochzeit All three arias
Wolfram * Tannhäuser Blickt ich umher / O du mein holder Abendstern
Germont * La Traviata Di provenza il mar
Graf (Count) * Der Wildschütz Heiterkeit und Fröhlichkeit
     
Escamillo Carmen Auftrittslied (Votre toast, je peux vous le rendre)
Don Giovanni Don GiovanniFinch' han del vino/ Deh,
vieni alla nestra
Zar Zar und Zimmermann Zarenlied (Sonst spielt ich mit Zepter)
 

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CHARAKTERBARITON (A to a at)
Verdi Baritone
 
A powerful voice capable of much nuance and ne characterization ability.
 
This Fach includes the roles generally associated with the Verdi and Puccini repertoire. This baritone must be a heavy on stage. He must be powerful in sound and in appearance, and
have a ringing high voice. The main roles for Charakterbariton include the standard Verdi roles such as Rigoletto and Iago in Otello, and the heavier Puccini roles of Scarpia in Tosca,
Marcel in Il Tabarro, and the title role in Gianni Schicchi. His German repertoire includes the Musiklehrer in Ariadne auf Naxo s, the four villains in Ho manns Erzählungen, Alberich in
Der Ring , and Klingsor in Parsifal.
Singers: Leonard Warren, Sherill Milnes, Antonio Scotti, Ettore Bastianini, Tito Gobbi, Renato Bruson, Piero Cappuccilli, Matteo Manuguerra, Leo Nucci, Paolo Coni, Giorgio
Zancanaro, Roberto Frontale, Geraint Evans, Lawrence Tibbett, Robert Merrill, Cornell MacNeil, Louis Quilico
Examples: Leonard Warren, Rigoletto ;  Sherill Milnes, Les contes d'Ho mann
 

 
Tonio * Der Bajazzo (I Pagilacci) Prolog (Sì può, si può?)
Posa * Don CarlosPer me giunto e il di supremo
Pizarro * Fidelio Ha! Welch' ein Augenblick!
Dapartutto * Ho manns Erzählungen Spiegel-Arie (Scintille, diamant)
(Les contes dHo mann)
Macbeth * Macbeth Pietà, rispetto, onore
Rene * Ein Maskenball (Un ballo in maschera) Eri tu che macchiavi quell anima
Iago * Othello Credo in un Dio crudel
Rigoletto * Rigoletto Pari siamo /  Cortigiani vil razza dannata
Scarpia * Tosca Già mi dicon venal
Graf Luna * Der Troubadour Il balen del suo sorriso
     
Escamillo Carmen Auftrittslied (Votre toast, je peux vous le rendre)
Al o Cavalleria Rusticana Auftrittslied (Scioppa la spilla)
Ford Falsta Monolog (È sogno? o realità?)
Gianni Schicchi Gianni Schicchi Ah! che zucconi!
Don Carlos Die Macht des Schicksals Urna fatale del mio destino
Marcel Der Mantel (Il Tabbaro) Nulla! Silenzio
 
 
 
HELDENBARITON (previously called HOHERBASS) (G to f sharp)
Heldenbaritone
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A heavy, projecting instrument, that not only has a soaring top, but also a smooth, carrying middle and low register.
 
This Fach is a child of the German opera and is primarily reserved for the exceptionally heavy Verdi roles, such as Amonasro in Aïda and the Wagner roles including Kurvenal in Tristan,
Telramund in Lohengrin, and Wotan. The voice must be big, and have the ability to sound cruel, and yet have tremendous expansive ability. It helps to be a large person in this Fach
but it is not absolutely necessary.
Singers: George London, Rudolf Bockelmann, Friedrich Schorr, Hans Hotter, Thomas Stewart, Donald McIntyre, James Morris
Examples: Hans Hotter and George London, Die Walküre
 

Tonio * Der Bajazzo (I Pagilacci) Prolog (Sì può, si può?)

Kaspar * Der Freischütz Hier im ird'schen Jammertal / Schweig', sehweig'!
Holländer * Der iegenden Holländer Die Frist ist um
Telramund * Lohengrin Dank König
Macbeth * Macbeth Pieta, rispetto, onore
Sachs * Die Meistersinger von Nürnberg Was duftet doch der Flieder / Wahn! Wahn! Überall Wahn!
Amfortas * Parsifal Mein Vater!
Scarpia * Tosca Già mi dicon venal
Wotan * Die Walküre Erzählung / Wotans Abschied (Leb wohl!)
Mandryka Arabella So ieset die helle, stille Donau
Boris Boris  
Falsta Falsta L'onore! Ladri! / Quand'ero paggio
 

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