Bass voice. Texts of children's poems and songs used in the blog

There are four main choral parts (voices) in the choir:

SOPRANO(female high) - S (Soprano)

ALTO(female low) - A (Alt, Alto)

TENOR(male high) - T (Tenor)

BASS(male low) - B (Bass)

In turn, each of these voices can be divided into several more, then it will already be called a divisi (divisi) - see the Choral terms section. And they will be called, for example, first sopranos and second sopranos, first basses and second basses, etc.

Women's(from top to bottom): coloratura soprano, lyric-coloratura soprano, lyric soprano, dramatic soprano, mezzo-soprano, contralto)

Men's(from top to bottom): tenor, baritone, bass. Each of them can have varieties.

Below we will consider each of the voices separately. Each voice will also have a sound range indicated. Because Since this question is of interest to many artists of the choir, we have included these data in a separate table. But at the same time, I would like to draw attention to the fact that these ranges are applicable more for professional singer-performers than for amateurs.

In our terminological dictionary, we have not allowed ourselves to give all the meanings of words. We consider the meanings of the word only from the side of the vocal or choral meaning (for example, the word Viola can also mean the Bowed instrument of the violin family - these are the meanings of the words, we immodestly allowed ourselves to be omitted)

So, our little terminological guide to voices. Terms are listed alphabetically.

ALTO(lat. altus - high; in the middle-century music it was performed above the tenor leading the main tune) -

1) Part in the choir or ans., comp. from low children's or average and low wives. voices (mezzo-soprano - first altos, contralto - second altos); range from fa small. oct. to FA 2nd Oct. (above - very rare), most used. salt (la) small. oct. - E flat (mi) 2nd Oct.

BARITONE(Greek - heavy-sounding) - Male of average height. voice; the range of A-flat (sol) is large. oct. - A-flat 1st Oct.; transitional registers. note D-sharp (re) 1st Oct.

There are lyrical baritone (approaching the tenor in terms of lightness of sound) and dramatic (close in breadth and power to the bass), with intermediate shades between them.

In the choir, baritones are part of the first basses; range salt of a large octave - F of the 1st octave (very rarely higher, predominantly in unison with tenors)

BASS(Italian basso - low) -

There are basses high (cantante - melodious), central and profundo (deep) - low (they are also called Basses-octavists. A special, rare, variety of the lowest bass; the name Octavists is usually applied to choral singers (in solo singing - bass profundo ). Octavists sing an octave below the bass (in the rarest cases, going down to the F counter-octave). Octavists are most often used in a chord warehouse, with a quiet sound. The acoustic effect of the participation of octavists is to merge the sounds of a chord, which, in relation to the fundamental tone, is, as it were, overtones (therefore, it is most natural to use Octavists when singing the bases of major triads. Octavists should be used carefully, taking into account the composer's instructions and the style of production.)

2) Part in the choir or wok. ensemble; composed of baritones and basses proper; range (without octaves) fa of a large octave (rarely lower) - fa 1st octave, the most common salt of a large octave - re (E-flat) of the 1st octave. The use of octaves extends the range of the bass part down an octave. Bass part - harmony the foundation of the choir, hence the need for its intonation. stability and sound. At the same time, it must have mobility, flexibility in dynamic. relation, which is also favorable for the purity of intonation.

TREBLE(from Latin dis - a prefix meaning dismemberment, cantus - singing) -

2) Part in the choir or wok. ensemble, performed by high children's voices.

COLORATURA(from lat. coloro - I color) - fast virtuoso passages (scales, arpeggios) and melismas that adorn the vocal part. Coloratura was often used in the ancient choral music(starting from the Renaissance), in Bach, Handel, in Russian. church 18th century concert In modern choral compositions it is sometimes used as a pictorial device. Coloratura is also the ability of the voice to move (hence the term - coloratura soprano). Virtuoso mobility of any choral voice (including bass) is desirable in every qualified choir; it helps to develop ease of sounding, accuracy of intonation.

CONTRALTO(Italian contralto - low female voice; the range is from fa of a small octave (below - rarely and predominantly in folk choirs) to fa2. Transitional notes mi1 (fa1), do-sharp2 (re)2; in the choir - part of the second violas. Sometimes used in unison with tenors as a kind of vocal color or to support high tenor notes; since this changes the timbre of the tenor part, the latter cannot serve as a rule, but rather an exception.

MEZZO SOPRANO(Italian mezzo - medium) - medium female voice. Range la small. oct. - la2 (rarely higher). There are high (lyrical) mezzo-soprano, approaching the soprano by the nature of the sound, and low, approaching the contralto. Transitional register notes f-sharp1 (fa1) - re-sharp2 (re2). In the choir, the mezzo-sopranos make up the part of 1 altos, in the 3-voice wives. chorus, depending on the specific. conditions are included in the party of the 2nd or 3rd vote.

MIXT(from lat. mixtus - mixed) - register of a singing voice, transitional between chest and head (falsetto) registers; it is characterized by greater softness, lightness compared to the chest register and greater saturation, sonority than falsetto. In a well-trained voice, it is necessary to mix the main registers (chest and head) over the entire range, and the head sound increases in the upward direction. In Mixed, the male voice is dominated by the chest character of the sound, while the female voice is dominated by the head. The role of Mikst is especially important in the male voices of the choir; in particular, for tenors, the sounds of the 1st octave should be mixed.

SOPRANO(from Italian sopra - above, above) -

1) The highest female, children's (also treble) voice. The range is up to 1 - up to 3, occasionally there are higher (sol3) and low (for a small octave) sounds. There are 3 main varieties of Soprano: dramatic (characteristic of fullness and strength of sound), lyrical (softer) and coloratura (distinguished by mobility, ability to high notes, pronounced vibrato; it is not used in the choir). There are also intermediate types (lyric-dramatic and lyric-coloratura). Transitional register notes mi1 - fa1 and fa2 (fa-sharp2).

2) The highest part in a choir or wok. ensemble, consisting of lyrical (first Soprano) and dramatic (second Soprano) voices; range do1 (lower rare) - do3, the most used re1 - salt2 (la2).

The soprano part is the most important in the choir, since (in homophonic harmonic music) it is most often entrusted with the melody; hence the need for its dynamic. flexibility, mobility, beauty of timbre.

TENOR(Italian, from Latin teneo - I hold) -

2) High male singing voice. Range to a small octave - up to 2; transitional register note (between the chest and head registers) f - f-sharp1. Notated in treble clef(an octave above the actual sound), in bass and tenor clefs.

The main varieties of T.: lyrical (tenore di grazia), dramatic (tenore di forza), as well as the middle one between them - mezzo-characteristic - and rare Tenor-altino (with a developed upper register - above up to 2). In the Tenor choir, lyric and altino make up the first part, the rest - the second. Due to the frequent use of high tessitura in the choir (especially in men's), the ability of tenors to use falsetto and mixed voices is important.

FALSETTO(from Italian falso - false), fistula - one of the registers of the male singing voice (upper), in which only the head resonator is used, isolated from the chest; the vocal cords do not close tightly and oscillate at the edges, as a result of which the falsetto sounds weak, colorless. In solo singing, falsetto is occasionally used as a kind of paint. IN choral singing Falsetto is used when learning high notes, on PP, when setting the tone by the conductor. Some tenors, performing to the utmost high notes, use the "voiced" Falsetto, approaching the mixed: such voices are very useful for the choir. The ability to use falsetto for singers (for the sake of "economy of the voice") and for the conductor is a must.

Table of ranges of singing voices:

Choral voices:

Voice	Range
Coloratura soprano	up to 1 - up to 3, occasionally higher ones (salt 3)
Lyric soprano
Dramatic soprano	do1 - do3, occasionally there are higher (sol3) and low (la small octave) sounds; most used re1 - salt2 (la2)
mezzo soprano	la small oct. - la2 (rarely higher)
Contralto	from fa mal. oct. (below - rare and predominant in folk choirs) up to fa2
Lyric tenor	to small oct. - up to 2
Dramatic tenor	to small oct. - up to 2
Tenor altino	tenor with a developed upper register - up to 2
Baritone	A-flat (sol) big. oct. - A-flat 1st Oct.
Bass	fa big. oct. - fa 1st Oct.
bass profundo	they sing an octave below the bass (in the rarest cases, going down to F counter-octave)

The selection and layout of materials was prepared by Fedotova T.A.

The following editions were used: Romanovsky N.V. Choral dictionary. Kruntyaeva T., Molokova N. Dictionary of foreign musical terms

Bass/ … Morphemic spelling dictionary

bass- amandyk sadakasy. Zheke basses ushin bereletin sadaka, pіtіr. Keshkіlіktі auyzashar, tanerteңgіlіktі sаresi deidі. Oraza uakytynda musylmandar semyasynyn әrbіr basyn b a s a m a n d y қ (pіtіr) s a d a қ a s y n toleidі (Ana tіlі, 04/26/1990, 6). Bass… … Kazakh tilinin tusindirme sozdigі

BASS- BASK bactericidal activity of blood serum honey. BASK Source: http://www.zzr.ru/archives/2002/12/article6.htm BAS BAS anode dry battery BAS Dictionaries: Dictionary of abbreviations and abbreviations of the army and special services. Comp. A. A. Shchelokov. M.: LLC ... Dictionary of abbreviations and abbreviations

bass- a, m. basse f., it. basso. 1. Low male voice. Sl. 18. Bass, the lowest voice in singing. LP 6. A voice sang in a hoarse bass. Osipov Aeneida 3 15. All possible sopranos, contraltos, tenors, baritones, ... ... Historical Dictionary of Gallicisms of the Russian Language

A; pl. basses, ov; m. [ital. basso low]. 1. The lowest male voice; singing voice of such a timbre. Talk, sing bass. Velvety, thick bass. 2. A singer with such a voice. 3. String or wind musical instrument of low register. Bass… … encyclopedic Dictionary

- (French basse, from bas low). 1) the lowest, male voice. 2) a musical instrument similar to a violin, but much larger than it. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. ALS 1) the lowest male ... ... Dictionary of foreign words of the Russian language

See singer... Dictionary of Russian synonyms and expressions similar in meaning. under. ed. N. Abramova, Moscow: Russian dictionaries, 1999. bass (low, thick) (sound, voice), singer; trombone, double bass, trumpet, bass, octave, bass Dictionary of Russian ... Synonym dictionary

- [low tone, voices] n., m., use. infrequently Morphology: (no) what? bass for what? bass, (see) what? bass what? bass about what? about the bass and on the bass; pl. What? bass, (no) what? bass, why? bass, (see) what? bass what? bass, about what? about bass 1. Bass… … Dictionary of Dmitriev

- (1603–1694) the largest representative of the haiku poetic genre (see); V Japanese literature this genre is inextricably linked with his name. The real name of the poet Matsuo Chuzaemon Munefusa. According to the custom of writers and artists of the Tokugawa era (1603-1868) ... Literary Encyclopedia

Bass- (from Italian basso low) 1) Low husband. chanter voice. Approximate range in solo parts: fa fa1, in the choir up to re1 MI. Notated in bass clef. There are high, melodious (basso cantante), center. and low (basso profundo) B. In high B. usually ... ... Russian humanitarian encyclopedic dictionary

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Singing voices have their own classification, which is distinguished by diversity. Differences in classification systems may be based on the most various factors: on the strength of the voice, on the degree of virtuosity and distinctness of performance, etc. However, experts note the need for a powerful foundation under all the possibilities of the performer's voice, which is the support of singing.

Quite often, the classification is based on the range of the performer's voice and his gender. However, these two criteria also give grounds for formulating a large number of varieties of classification. Highlighting a certain group of voices, professionals specify the presence of narrower groups in it.

Bass - low male voice

A group of male voices called Bass is combined in a classification according to the sound of a very low range of voice, for which the characteristic features are: breadth, "darkness", richness of the timbre formed by the chest resonator.

Touching upon the issue of range for bass, experts are ambiguous in their conclusions. However, the traditional classical idea of ​​the position occupied by the bass on the musical staff is that which is united by the framework of the FA of the large and first octaves.

bass tone

In accordance with the quality side of the sound, basses are considered in three groups:

High-pitched bass, also called bass-baritone or cantante: a voice characterized by a high-pitched operating range, with borders of the major G and the first octave; the maximum similarity with the baritone timbre is felt in the upper tessitura; the timbre of this type of voice, in comparison with other basses, is characterized by kindness and radiance;

Central or dramatic bass: characterized by maximum expressiveness of imperiousness, menacingness, wisdom and hardness of the bass timbre;

Low bass, also called profundo or octavist.

Each subgroup has its own characteristics. For example, a feature of the dramatic bass can be called the inability of the singer to take the notes of F and G of the first octave. However, the MI note range is large and takes the first octave confidently. It is connected with the ease of sounding of the range on the chest resonator. The percentage of use of the head resonator decreases as the sound of the voice decreases.

We will talk about the bass profundo below. In the meantime, it is worth noting that opera parts are being created for basses with fairly representative heroes, among whom one can find representatives of royal, princely, boyar and other families, wise men of generals and other images that are characterized by masculinity and confidence. All this can be heard in the voice of the performer, which, according to experts, always inspires confidence among the listeners.

Another noteworthy fact is the evidence that in Italy Russia is recognized as the primacy of a state rich in beautiful basses. And Italy itself is famous as the birthplace of excellent tenor voices.

bass profundo

Returning to this type of bass, it is worth noting that the translation of the word with Italian roots sounds like “deep”. The owner of such a voice is recognized as unique. The difference between this variety of the male voice and others lies in the lowest tessitura of the sound. Experts note the possibility of going beyond the conceivable human capabilities.

The exclusivity that the bass profundo exhibits is captured in every aspect vocal art: by timbre and range, by physiological structure and resonance and other parameters.

The timbre is deep, but quantitatively, within the framework of low sounding, it is limited in overtones, that is, without excluding attractiveness, it is characterized by the absence of timbre saturation. Bass profundo is almost never heard in solo parts. A rare exception is the church choir. The bass octavist can often be heard in choirs, while its sound is minimal, and is required to highlight the volume of the timbre.

Another case of using the bass-profundo is doubling the root tone of chords of major and minor triads. When merging the sound of the bass timbres of ordinary and octavist, occurring in the choral bass parts, the latter acquire the character of massiveness and monumentality. Such a technique is important in terms of influencing the listener, who will certainly have feelings of anxiety and association with the sound of the tocsin bell.

Dwelling on the question of the range for bass profundo, it is worth noting that the note FA of the counter octave and DO of the first octave can serve as its framework.

Considering the resonance factor for bass-profundo, professionals point out the peculiarity of the process, in which only the larynx and chest resonator are involved. The structure of the ligaments (long) and their characteristics (dense, elastic) exclude the possibility of using in this case head resonator.

TENOR

comic tenor

German name: Spieltenor - Tenor Buffo

English translation:(Lyric) comic tenor. Young singers of this type also often sing the roles of Lyrischertenor

Range: from "to" the first octave to "b-flat" the second

Roles:

Pedrillo, Die Entfuhrung aus dem Serail (Wolfgang Amadeus Mozart)
Monostatos, Die Zauberflote (Wolfgang Amadeus Mozart)
King Kaspar, Amahl and the Night Visitors (Gian Carlo Menotti)
Mime, Das Rheingold (Richard Wagner)
Monsieur Triquet, Eugene Onegin (Pyotr Ilyich Tchaikovsky)

Singers:

Peter Klein

Tenor for character roles

German name: charactertertenor

English version: character tenor

Description: this type requires good acting skills.

Roles:

Mime, Siegfried (Richard Wagner)
Herod, Salome (Richard Strauss)
Aegisth, Elektra (Richard Strauss)
The Captain, Wozzeck (Alban Berg)

Singers:

Peter Klein
Paul Kuen
Gerhard Stolze
Robert Tear

Lyric tenor

German name: Lyrischer Tenor

English translation: Lyric tenor

Range:

Roles:

Tamino, Die Zauberflote (Wolfgang Amadeus Mozart)
Belmonte, Die Entfuhrung aus dem Serail (Wolfgang Amadeus Mozart)
Rodolfo, La boheme (Giacomo Puccini)
Ferrando, Cosi fan tutte (Wolfgang Amadeus Mozart)
Almaviva, Il barbiere di Siviglia (Gioachino Rossini)
Arturo, I puritani (Vincenzo Bellini)
Elvino, La sonnambula (Vincenzo Bellini)
Ramiro, La Cenerentola (Gioachino Rossini)
Nemorino, L "elisir d" amore (Gaetano Donizetti)
Alfredo, La traviata (Giuseppe Verdi)
Il Duca, Rigoletto (Giuseppe Verdi)
Don Ottavio, Don Giovanni (Wolfgang Amadeus Mozart)
Faust, Faust (Charles-Francois Gounod)

Singers:

Luigi Alva
Alfredo Kraus
Carlo Bergonzi
Jussi Bjorling
Ian Bostridge
Jose Carreras
Anton Dermota
Giuseppe Di Stefano
Juan Diego Florez
Nicolai Gedda
Beniamino Gigli
Luciano Pavarotti
Jan Peerce
Fritz Wunderlich
Peter Schreier
Leopold Simoneau

Young dramatic tenor

German name: Jugendlicher Heldentenor

English translation: Light dramatic tenor

Range: from "to" the first octave "to" to the third

Description: a tenor with good high notes of dramatic coloring and a certain amount of sonority to cut through orchestras.

Roles:

Don Jose, Carmen (Georges Bizet)
Lohengrin, Lohengrin (Richard Wagner)
Siegmund, Die Walkure (Richard Wagner)
Radames, Aida (Giuseppe Verdi)
Manrico, Il trovatore (Giuseppe Verdi)
Idomeneo, Idomeneo (Wolfgang Amadeus Mozart)
Calaf, Turandot (Giacomo Puccini)
Cavaradossi, Tosca (Giacomo Puccini)
Florestan, Fidelio (Ludwig van Beethoven)
Canio, Pagliacci (Ruggero Leoncavallo)
Don Alvaro La forza del destino (Giuseppe Verdi)
Max, Der Freischutz (Carl Maria von Weber)
Dick Johnson

Singers:

Placido Domingo
Antonio Cortis
Georges Thill
Jose Cura
Richard Tucker
Ben Heppner
Enrico Caruso
Giacomo Lauri Volpi
Giovanni Martinelli
Franco Corelli
James King
Jonas Kaufmann

Dramatic tenor

German name: Heldentenor

English translation: Heroic Tenor

Range: from "b-flat" small to "do" third

Description: a full-fledged dramatic tenor with baritone coloring in the middle register and sonority. It cuts through tight orchestration well.

Roles:

Othello, Otello (Giuseppe Verdi)
Siegfried, Der Ring des Nibelungen (Richard Wagner)
Parsifal, Parsifal (Richard Wagner)
Tristan, Tristan und Isolde (Richard Wagner)
Walther von Stolzing, Die Meistersinger (Richard Wagner)

Singers:

Jean de Reszke
Francesco Tamagno
Ivan Yershov
Giuseppe Borgatti
Wolfgang Windgassen
Lauritz Melchior
James King
John Vickers
Mario del Monaco
Ramon Vinay
Set Svanholm
Hans Hopf
Max Lorenz

BARITONE

Lyric baritone

German name: Lyrischer Bariton - Spielbariton

English translation: Lyric baritone

Range: from "b-flat" of the big octave to "sol" of the first octave

Description: soft, gentle timbre without harshness.

Roles:

Conte Almaviva, Le nozze di Figaro (Wolfgang Amadeus Mozart)
Guglielmo, Cosi fan tutte (Wolfgang Amadeus Mozart)
Marcello, La boheme (Giacomo Puccini)
Papageno, Die Zauberflote (Wolfgang Amadeus Mozart)
Onegin, Eugene Onegin (Pyotr Ilyich Tchaikovsky)
Albert, Werther (Jules Massenet)
Billy Budd, Billy Budd (Benjamin Britten)
Figaro, Il barbiere di Siviglia (Gioachino Rossini)

Singers:

Giuseppe DeLuca
Dietrich Fischer-Dieskau
Gerhard Husch
Hermann Prey
Simon Keenlyside
Nathan Gunn
Peter Mattei
Thomas Hampson
Wolfgang Holzmair

Cavalier baritone

German name: Kavalierbariton

Range:

Description: a metal timbre voice that can sing both lyrical and dramatic passages. The voice has a noble baritone tone, not as powerful as a Verdi or characteristic baritone, which is expected to be more militant on stage and physical strength. From the singer of this fah is required good skill keep yourself on stage and good looks.

Roles:

Don Giovanni, Don Giovanni (Wolfgang Amadeus Mozart)
Tonio, Pagliacci (Ruggiero Leoncavallo)
Iago, Otello (Giuseppe Verdi)
Count, Capriccio (Richard Strauss)

Singers:

Dmitry Hvorostovsky
Sherrill Milnes

Characteristic baritone

German name: characterbariton

English translation: Verdi baritone

Range: from "la" of a large octave to "sol-sharp" of the first

Roles:

Wozzeck, Wozzeck (Alban Berg)
Germont, La traviata (Giuseppe Verdi)

Singers:

Mattia Battistini
Lawrence Tibbett
Pasquale Amato
Piero Cappucilli
Ettore Bastianini
Renato Bruson
Tito Gobbi
Robert Merrill

Dramatic baritone

German name: Heldenbariton

English translation: Dramatic baritone

Range:

Description: The "heroic" baritone is a rare and, therefore, so desirable phenomenon in German opera houses. The timbre is sonorous and flying, combined with power and "command tone".

Roles:

Telramund, Lohengrin (Richard Wagner)
Count di Luna, Il trovatore (Giuseppe Verdi)

Singers:

Leonard Warren
Eberhard Wachter
Thomas Stewart
Titta Ruffo

Lyric bass-baritone

German name: Lyrischer Bassbariton

English translation: Lyric Bass-baritone

Range: from "G" of the big octave to "F-sharp" of the first

Description: The range for the bass-baritone often varies greatly from part to part, some of which are not very technical. Some bass-baritones gravitate more towards baritones: Friedrich Schorr, George London and Bryn Terfel, others towards basses: Hans Hotter, Alexander Kipnis and Samuel Ramey.

Roles:

Escamillo, Carmen (Georges Bizet)
Golaud, Pelleas et Melisande (Claude Debussy)

Singers:

Thomas Quasthoff

Dramatic bass-baritone

German name: Dramatischer Bassbariton

English translation: Bass-baritone

Range: from "G" of the big octave to "F-sharp" of the first

Roles:

Igor, Prince Igor (Alexander Borodin)
Scarpia, Tosca (Giacomo Puccini)
The Dutchman, The Flying Dutchman (Richard Wagner)
Hans Sachs, Die Meistersinger (Richard Wagner)
Wotan, Der Ring des Nibelungen (Richard Wagner)
Amfortas, Parsifal (Richard Wagner)

Singers:

Friedrich Schorr
Rudolf Bockelmann
Anton van Rooy
George London
James Morris
Bryn Terfel

BASS

Bass cantante - high bass

Italian name: Basso Cantante

English translation: Lyric Bass-baritone

Range:, sometimes F-sharp first.

Description: a bass who is good at singing in a singsong voice. Translated from Italian basso cantante - melodious bass.

Roles:
Dositheus - Khovanshchina (Modest Mussorgsky)
Prince Ivan Khovansky - Khovanshchina (Modest Mussorgsky)

Salieri - Mozart and Salieri (Rimsky-Korsakov)
Ivan Susanin - Life for the Tsar (Glinka)
Melnik - Mermaid (Dargomyzhsky)
Ruslan - Rulan and Lyudmila (Glinka)
Duke Bluebeard, Bluebeard's Castle (Bela Bartok)
Don Pizarro, Fidelio (Ludwig van Beethoven)
Count Rodolfo, La sonnambula (Vincenzo Bellini)
Blitch, Susannah (Carlisle Floyd)
Mephistopheles, Faust (Charles Gounod)
Don Alfonso, Cosi fan tutte (Wolfgang Amadeus Mozart)
Leporello, Don Giovanni, Don Giovanni (Wolfgang Amadeus Mozart)
Figaro, Le nozze di Figaro (Wolfgang Amadeus Mozart)
Boris, Boris Godunov (Modest Mussorgsky)
Don Basilio Il barbiere di Siviglia (Gioachino Rossini)
Silva, Ernani (Giuseppe Verdi
Philip II, Don Carlos (Giuseppe Verdi)
Count Walter, Luisa Miller (Giuseppe Verdi)
Zaccaria, Nabucco (Giuseppe Verdi)

Singers:

Norman Allin
Adamo Didur
Paul Plancon
Feodor Chaliapin
Ezio Pinza
Tancredi Pasero
Ruggero Raimondi
Samuel Ramey
Cesare Siepi
Hao Jiang Tian
Jose van Dam
Ildebrando D"Arcangelo

High dramatic bass

German name: Hoherbass

English translation: Dramatic Bass-baritone

Range: from "mi" of a large octave to "fa" of the first

Roles:

Boris, Varlaam - Boris Godunov (Modest Mussorgsky)
Klingsor, Parsifal (Richard Wagner)
Wotan Der Ring des Nibelungen (Richard Wagner)
Caspar, Der Freischutz (Carl Maria von Weber)
Philip, Don Carlo (Giuseppe Verdi)

Singers:

Theo Adam
Hans Hotter
Marcel Journet
Alexander Kipnis
Boris Christoff
Cesare Siepi
Fyodor Chaliapin
Mark Reizen
Nicolai Ghiaurov

Young bass

German name: Jugendlicher Bass

English translation: young bass

Range: from "mi" of a large octave to "fa" of the first

Description: young bass (meaning age).

Roles:

Leporello, Masetto, Don Giovanni (Wolfgang Amadeus Mozart)
Figaro, Le nozze di Figaro (Wolfgang Amadeus Mozart)
Varlaam, Boris Godunov (Modest Mussorgsky)
Colline, La boheme (Giacomo Puccini)

Lyric comic bass

German name: Spielbass

Italian name: Bassbuffo

English translation: Lyric comic bass

Range: from "mi" of a large octave to "fa" of the first

Roles:

Farlaf - Ruslan and Lyudmila (Glinka)
Varangian guest (Sadko, Rimsky-Korsakov)
Don Pasquale, Don Pasquale (Gaetano Donizetti)
Dottor Dulcamara, L "elisir d" amore (Gaetano Donizetti)
Don Bartolo, Il barbiere di Siviglia (Gioachino Rossini)
Don Basilio, Il barbiere di Siviglia (Gioachino Rossini)
Don Magnifico, La Cenerentola (Gioachino Rossini)
Mephistopheles, Faust (Charles Gounod)
Don Alfonso, Cosi fan tutte (Wolfgang Amadeus Mozart)
Leporello, Don Giovanni (Wolfgang Amadeus Mozart)

Singers:

Luigi Lablache
Fernando Corena
Ferruccio Furlanetto

dramatic buffo

German name: Schwerer Spielbass

English translation: dramatic comic bass

Range:

Khan Konchak - Prince Igor (Alexander Borodin)
Varangian guest - Sadko (Rimsky-Korsakov)
Baculus, Der Wildschütz (Albert Lortzing)
Ferrando, Il trovatore (Giuseppe Verdi)
Daland, Der fliegende Holländer (Richard Wagner)
Pogner, Die Meistersinger (Richard Wagner)
Hunding, Die Walküre (Richard Wagner)

low bass

German name: Lyric Serioser Bass

Italian name: Basso Profundo

English translation: low bass

Range: from "to" a large octave to "fa" of the first

Description: bass profundo is the lowest male voice. According to J.B. Steane, which he cited in his book "Voices, Singers, and Critics" ("Voices, Singers, and Critics" by J. B. Steane), this voice uses sound formation that excludes fast vibrato. It has a dense, wall-beat timbre. Singers sometimes use other types of vibrato: slow or "terrifying" swing.

Roles:

Rocco, Fidelio (Ludwig von Beethoven)
Osmin, Die Entführung aus dem Serail (Wolfgang Amadeus Mozart)
Sarastro, Die Zauberflöte (Wolfgang Amadeus Mozart)
Pimen - Boris Godunov (Modest Mussorgsky)
Sobakin - royal bride(Rimsky-Korsakov)
Prince Yuri - The Legend of Kitezh (Rimsky-Korsakov)
King Rene - Iolanthe (Tchaikovsky)
Prince Gremin - Eugene Onegin (Pyotr Ilyich Tchaikovsky)

Singers:

Matti Salminen

Low dramatic bass

German name: Dramatic Serioser Bass

English translation: Dramatic low bass

Range: from "to" a large octave to "fa" of the first

Description: powerful bass profundo.

Roles:

Vladimir Yaroslavich, Prince Igor (Alexander Borodin)
Hagen, Götterdämmerung (Richard Wagner)
Heinrich, Lohengrin (Richard Wagner)
Gurnemanz, Parsifal (Richard Wagner)
Fafner, Das Rheingold, Siegfried (Richard Wagner)
Marke, Tristan und Isolde (Richard Wagner)
Hunding, Die Walküre (Richard Wagner)

Singers:

Ivar Andresen
Gottlob Frick
Kurt Moll
Martti Talvela

In one of the previous posts, we have already started acquaintance with singing voices.

Today, I would like to introduce you to the most famous singing voices in the world. I will start my story with the most low male voices . As you already know, these voices are called bass. Turns out, among the basses there are also high (bass - cantato), medium (central) and low (bass profundo). By nature, the bass is divided into characteristic And comic or, in other words, bass buffo.

The most famous bass was Fyodor Mikhailovich Chaliapin. He had a high bass, sometimes he even sang parts for the baritone. High bass sounds bright, soft, light. Chaliapin's voice was admired and admired to this day.

"Cudgel"

Famous basses were Maxim Dormidontovich Mikhailov, Ivan Ivanovich Petrov, Boris Romanovich Gmyrya and many other singers.

Of the living - the world-famous bass Evgeny Evgenievich Nesterenko. He is 72 years old, lives in Vienna and teaches at the conservatory. In Russia, she no longer sings, but it's a pity. It has the rarest, very large range bass and amazing charm. They said about him "bass of the century".

(Musical fragment from Z.P. Paliashvili's opera "Daisi" ("Twilight"), couplets by Tsangal.)

Russian miracle.

The lowest bass is also called bass profundo (or bass octaves ). Such voices are very rare and can sing the lowest notes. Sometimes it seems that the human voice simply cannot sound so low. Profundo basses can be heard in Russian church choirs and in the opera, that's probably all. Nowhere else in the world do they know how to sing like that, only in Russia there are profundo basses. The low, deep rumble of these basses adds mystery and stupefaction, and has a very strong effect on the listener. Russian miracle - they talk about these amazing, powerful, low and deep voices.

basses - profundo Vladimir Miller, Mikhail Kruglov, Sergey Kochetov. Performing as an ensemble.