#spinto tenor

[opera-ghosts]

Rare video footage of tenor Alfred Piccaver (1884-1958) singing Walter's "Prize Song" from the opera "Die Meistersinger von Nürnberg" by Richard Wagner.

[soprano-sfogato]

Hi Soprano! I loved your take on Christine’s vocal technique/explanation of Bel Canto and I haven’t stopped thinking about it. In that vein, I’d love to hear your take on a male opera singer(s) who you think might have an Erik-comparable voice? I’ve always been fascinated how Leroux described his voice like thunder and that of an angel simultaneously. I’d love to hear your opinion 😊 thanks!

Hi! This is a really amazing question!

Based on several facts from Leroux’s novel, Erik was definitely a tenor. But what kind of tenor? Raoul described his voice as a very beautiful, gentle, captivating voice… but despite its lyric sweetness it was a male voice, definitely not a woman’s. Christine, at the rooftop, said that his voice was explosive when they sang together a duet from Rossini’s (not Verdi’s) Otello. So, we know that Erik had a big voice with a lyric timbre, but he could also sing more dramatically—in the novel his singing is described as highly emotional. This is a typical description of a spinto tenor. I’d also add that he was singing in the verismo style, as verismo is known for its extreme emotional expression. Interestingly, the very first verismo opera premiered in 1890, a few years after the events in Leroux’s novel, and in my opinion, this suits Erik as a character because he was always innovative.

The greatest spinto tenor was undoubtedly Enrico Caruso, who was also the best tenor to have ever lived (or at least the best among those whose voices were recorded). His voice was truly miraculous. If Erik’s voice was extraordinary and phenomenal, Caruso is the only singer I can compared him to. But if we lower our expectations just a little, other amazing spinto tenors would be Franco Corelli, Giacomo Lauri-Volpi, and Carlo Bergonzi.

[venomous-qwille]

Not sure if this question has been asked already, how many instrument can Harry play? :D

and what does he think about modern music? Is he kinda bias about it and prefers traditional song/singing?

Harry plays piano and flute and a little bit of strings. Primarily though he is a classically trained spinto tenor and was a professional opera singer for about thirty years, on and off.

He doesn't dislike modern music per se, but he definitely has his favorite genres. I don't really see his love as classical music as a bias- he enjoys music of all sorts, it's just that 'classical' is what made him fall in love with music and turned it into his lifelong passion.

[thedupshadove]

Interests are bouncing off each other again; here's how I would assign voice types in the event of a hypothetical Superman Opera (Yes I know there was that musical, but that was a very 20th-century 70s-pop-Broadway type of musical. Not the same.)

Title Character: Clark is a comic tenor, Superman is a noble baritone, and yes we need the same guy to sing both halves of the character. I know guys who can really sing both baritone and tenor aren't just hanging around in every college opera department, but...find one. (In those moments when he isn't consciously leaning into either half of the disguise, such as on the farm or in the Fortress, he can sort of be hovering in that space between the two ranges)

Lois Lane: Contralto

Jor-El: Basso Profondo

Lara Lor-Van: Dramatic Soprano

Jonathan Kent: Lyric Baritone

Martha Kent: Mezzo-Soprano

(Jonathan, Martha, Jor-El, and Lara are going to get this dreamscape quartet, speaking across space, across time, across the veil of death thanks to the power of how much they all love their son. Anyway.)

Jimmy Olsen: Leggero Tenor

Lucy Lane (if we have space/time to include her): Soubrette Soprano

Perry White: Bass, but like a very harsh, un-pretty bass. Basso Brontolando.

Lex Luthor: Spinto Tenor

Mercy Graves: Spinto Soprano

General Zod: Bass-Baritone

Brainiac: Counter-Tenor

Kara Zor-El: Treble

[acchidocchi]

oikage opera singers AU!!!

tobio is a mozart tenor. oikawa-san is a spinto tenor (who keeps getting cast in antihero roles much to his chagrin….)

the aria tobio sings for his recital is ich baue ganz (https://youtu.be/7z5bHYndXdM?si=LU-3OfX5V6P7HooN) 🫶✨

[historical-babes]

Franco Corelli (8 April 1921 – 29 October 2003) was an Italian tenor who had a major international opera career between 1951 and 1976. Associated in particular with the spinto and dramatic tenor roles of the Italian repertory, he was celebrated universally for his powerhouse voice, electrifying top notes, clear timbre, passionate singing and remarkable performances. Dubbed the "prince of tenors", audiences were enchanted by his handsome features and charismatic stage presence. He had a long and fruitful partnership with the Metropolitan Opera in New York City between 1961 and 1975. He also appeared on the stages of most of the major opera houses in Europe and with opera companies throughout North America. (*This is the best biography I can find...but I’m sure there are better ones online )

[princesssarisa]

Fancasts for "An Eternal Crown: The Opera"

I'm being silly now and imagining what it would be like if my gender-bent Magic Flute retelling, An Eternal Crown, were adapted as an opera itself. It could be a "jukebox opera," consisting partly of music from The Magic Flute transposed, and partly of other music – for example, some of Handel's florid bass arias to take the place of the Queen of the Night's arias for King Vorteyo.

Sarisa and Zeran's voices I imagine as essentially Pamina's and Tamino's, since they are those two in reverse: a lyric soprano and a light lyric tenor. Lorikeet I can't help but imagine as a lyric coloratura. Vorteyo would be a bass, Alesta and Imara both motherly mezzos, Kimzi one of those roles like Zerlina that can be sung either by a soprano or a light mezzo, and Robin a lyric baritone. The Three Warriors I picture as a "heroic" Italian-style spinto tenor, and a baritone and bass in more of a Mozartean vein.

These are some of the singers I think might have been good in the roles in different eras:

An Eternal Crown: The Opera, circa 1960-1965

Sarisa: Irmgard Seefried or Gundula Janowitz

Zeran: Fritz Wunderlich or Nicolai Gedda

Lorikeet: Lucia Popp

King Vorteyo: Cesare Siepi

Alesta: Maureen Forrester

Kimzi: Teresa Berganza or Graziella Sciutti

Robin: Hermann Prey or Theodor Uppman

Imara: Marga Höffgen

Three Warriors: Giuseppe di Stefano, Eberhard Wächter, Fernando Corena

An Eternal Crown: The Opera, circa 1980-1985

Sarisa: Ileana Cotrubas

Zeran: Francisco Araiza or Peter Schreier

Lorikeet: Kathleen Battle

King Vorteyo: James Morris

Alesta: Marilyn Horne

Kimzi: Teresa Stratas

Robin: Håkan Hagegård, or a young Alessandro Corbelli

Imara: Janet Baker

Three Warriors: José Carreras, Thomas Allen, Samuel Ramey

An Eternal Crown: The Opera, circa 2000-2005

Sarisa: Ana María Martínez or Dorothea Röschmann

Zeran: Charles Castronovo

Lorikeet: Diana Damrau

King Vorteyo: Samuel Ramey

Alesta: Denyce Graves

Kimzi: Cecilia Bartoli

Robin: Rolando Villazón (it could have been an early light baritone foray for him)

Imara: Stephanie Blythe

Three Warriors: José Cura, Simon Keenlyside, Ildebrando d’Arcangelo

I'll think of more in the future.

[operacascadia]

It's highly likely that many opera fans have never heard of Giuseppe Giacomini. Understandable, as he wasn't exactly world famous. He did occasionally appear at the major opera houses, but he was vastly overshadowed by the Big Three tenors. The three major label recordings of his that I know of (a Tosca with Carol Vaness, Cavalleria rusticana with Jessye Norman, and Norma with Renata Scotto) make me feel like he was cast only because Pav, Dom, and Car weren't available.

But he was giving exceptional performances in smaller houses. Looking a bit like an accountant, his voice did not match his body. He had a real spinto voice, (unlike Pavarotti and Carreras), and he had high notes, (unlike Domingo).

Perhaps his voice is best heard in this rendition of "Ch'ella mi creda" from La fanciulla del West by Puccini. When he starts off, his low notes are so deep and dark, you'd almost swear he was a baritone, but his strong high notes leave no doubt as to his actual fach.

It's an absolutely masterful piece of singing. I have never heard a better performance of this aria.

He passed away in 2021 at age 80, but his art lives on.

[kennedy-the-genderfluid-punk]

my friend @giovanni-bottesini said im in the tenor/spinto range

We ask your questions so you don’t have to! Submit your questions to have them posted anonymously as polls.

[cinquecolonnemagazine]

Esplorando i motori della crescita economica

La crescita economica rappresenta uno dei pilastri fondamentali per lo sviluppo e il progresso di una nazione. Sin dalle prime civiltà, la prosperità economica è stata il motore che ha spinto il tessuto sociale e culturale dell'umanità, aprendo la strada a nuove opportunità e migliorando il tenore di vita delle persone. Questo articolo si propone di esplorare i vari aspetti che guidano la crescita economica, analizzando le diverse dinamiche e i fattori chiave che influenzano questo processo attraverso i dati ed i grafici di Our World in Data. Crescita economica e PIL In un mondo in costante evoluzione, la comprensione del PIL e della sua applicazione è fondamentale soprattutto per una valutazione accurata e significativa dell'economia globale e dei suoi impatti sulla società. Affronteremo le sfide e le opportunità offerte da questo indicatore, esplorando il suo ruolo nella guida delle decisioni politiche ed economiche verso un futuro più sostenibile e prospero per tutti: Il PIL nel corso dei millenni Il Prodotto Interno Lordo (PIL) rappresenta uno dei concetti economici più famosi e rilevanti a livello globale. Questo indicatore, misurando il valore totale di tutti i beni e servizi prodotti all'interno dei confini di una nazione in un determinato periodo di tempo, fornisce una misura fondamentale delle dimensioni e della salute economica di un paese. Il PIL ha soprattutto un ruolo centrale nella politica, nell'economia e nei dibattiti sociali, influenzando le decisioni governative, le strategie aziendali e l'analisi dei mercati finanziari. Tuttavia, al di là della sua ubiquità, il PIL è un indicatore complesso, soggetto a critiche e dibattiti riguardo alla sua capacità di catturare la realtà economica in tutte le sue sfumature. Quanto è cambiato nel corso dei millenni? Vediamo attraverso il grafico di Our World in Data: Distribuzione del prodotto interno lordo per settore economico Oltre alla sua funzione di misuratore della crescita economica, il PIL è spesso utilizzato anche come indicatore del benessere e dello sviluppo umano. Vediamo come viene distribuito all'interno del settore economico grazie ai grafici ed agli studi realizzati da Our World in Data: La spesa pubblica La spesa pubblica rappresenta l'ammontare di denaro che un governo investe per finanziare le sue attività e i servizi destinati alla collettività. Questa forma di spesa è fondamentale soprattutto per il funzionamento dello Stato e per il sostegno delle infrastrutture, dei servizi e dei programmi che servono a garantire il benessere dei cittadini e a promuovere lo sviluppo economico e sociale del paese. Come si relazione in percentuale rispetto al PIL? Foto di copertina: https://pixabay.com/it/photos/soldi-moneta-investimento-2724241/ Read the full article

[opera-ghosts]

February 2. 1969 the famous Tenor Giovanni Martinelli (1885-1969) died in New York. He was 50 years on stage with all great voices of his time. Here we see a Original postcard sending to him 1912. At this time he was the first time outside Italia and made his Debut at Royal Opera House Covent Garden.

Take a closer look on this great biography.

[ikjun]

is there even a spinto range tenor in kpop

[vocalview]

Spinto

A spinto voice can be best described as a hybrid between the lyric and dramatic voice. Spinto voices are very big, but not as large as a dramatic. They possess the warm timbre of lyric voices, but have the dark and metallic tone of a dramatic (Listen here). Often people believe that spintos are dramatics (eg. Jennifer Hudson), but their voice contains a warmth that a dramatic won't have. In regards to agility, again they sit in the middle.

They are not the most agile, but can harness the skill well (eg. Whitney Houston). Much confusion arises from the fact that spinto translates to ‘pushed’. Spintos are not singers who push their voices and force a bigger sound. They are voices that can be ‘pushed’ to dramatic climaxes. This means that they can acheive dramatic climaxes, not just singers who overly force air through the vocal folds. So Christina Aguilera is not a spinto.

Spintos are also known for their ability to slice through heavy instrumentation. They are one of the rarest voice types and are restricted to sopranos and tenors only, so there is no such thing as a spinto mezzo or baritone.

Examples in pop music include: Whitney Houston, Jennifer Hudson, Michael Bolton and Cee Lo Green. The spinto fach includes:

Spinto Soprano

Spinto Tenor

[widevibratobitch]

i just wanna know whose idea it was to cast Cossotto in mezzo roles when she sounds lighter than most of her contemporary spinto sopranos.

peace and love but using your chest voice doesn't automatically make you a mezzo <33333

[crabbycola]

Swan headcanon: He have a melodic voice and actually can sing very well but never exploited his alredy toned voice and learned how to sing correctly. Meaning he can sing pretty but not good (problems with air, note holding, between others)

Im not the best analizing voice types at all so completly talking out of what i just saw and heard (lmao), but im convinced he would be mainly a tenor, more specifically a spinto tenor.

The duckling have an actually good vibrato but the voice is easily breakable, leading to quite funny voice cracks.

I have been comparing and comparing between Swan's voicelines and different tenor artists, I feel exhausted lmao.