Heldentenor Ludwig Schnorr von Carolsfeld and as wife, Malvina, in the title roles of Tristan und Isolde, 1865.
Heldentenor Ludwig Schnorr von Carolsfeld and as wife, Malvina, in the title roles of Tristan und Isolde, 1865.

A heldentenor (German: [ˈhɛl.dən.te.ˈno:ʁ] (listen);[1] English: heroic tenor),[2][3][4] earlier called tenorbariton,[1] is an operatic tenor voice, most often associated with Wagnerian repertoire.[5][6][7]

It is distinct from other tenor fächer by its endurance,[8][9] volume,[10][11] and dark timbre, which may be, in its middle register, like that of a baritone.[4][12] The voice may also sound clear or metallic.[1] It is one of the rarest voice types in opera.[13][14] Heldentenor roles, such as the title roles in Siegfried and Lohengrin, often require commanding stage presence and strong acting ability. In some cases, due to reasons such as voice misidentification, singers may begin their careers as baritones before later transitioning.[15][16][17] The term heldentenor may be used to refer to both a singer and their voice.

The treble counterpart of the heldentenor is the Wagnerian soprano.[18][19][20]

The heldentenor range from approximately (B2) to (C5)[4]
The heldentenor range from approximately (B2) to (C5)[4]

Roles

The following roles are in the standard heldentenor repertoire:

Richard Strauss[edit]

Other[edit]

Example singers

See also: Category:Heldentenors

References

  1. ^ a b c Suverkrop, Bard (2017). "The Fach System: The Tenor Voice". IPASource.com. Retrieved 25 August 2022.
  2. ^ Silcox, Nancy (2020). Paul Frey: A Story Never Predicted: from Trucking to the World Opera Stage. Eugene, OR: Wipf & Stock. p. 93. ISBN 9781725261655. Retrieved 18 August 2022.
  3. ^ Douglas, Nigel (1995). More Legendary Voices. Lanham, MD: Limelight Editions. p. 157. ISBN 9780879101930. Retrieved 19 August 2022.
  4. ^ a b c d Callaghan, Jean; Emmons, Shirlee; Popeil, Lisa (2012). McPherson, Gary E.; Welch, Graham F. (eds.). The Oxford Handbook of Music Education. Vol. 1. p. 571. ISBN 9780199730810. Retrieved 24 August 2022.
  5. ^ Berger, William (1998). Wagner Without Fear: Learning to Love—and Even Enjoy—Opera's Most Demanding Genius. New York City: Vintage Books. p. 435. ISBN 9780375700545. Retrieved 25 August 2022.
  6. ^ Howlett, Niel (2010). "What is a Heldentenor?". NielHowlett.com. Retrieved 25 August 2022.
  7. ^ Hoffman, Miles (2005). The NPR Classical Music Companion: An Essential Guide for Enlightened Listening. Boston: Houghton Mifflin. p. 272. ISBN 9780618619450. Retrieved 25 August 2022.
  8. ^ Wakin, Daniel J. (2010). "Heldentenor Foundation Is Closing Shop". The New York Times. New York City.
  9. ^ Gaetano, John Louis (2015). An Invitation to the Opera, Revised Edition. Jefferson, NC: McFarland & Company. p. 54. ISBN 9780786495191. Retrieved 25 August 2022.
  10. ^ Fisher, Burton D. (2005). A History of Opera: Milestones and Metamorphoses. Miami: Opera Journeys Publishing. p. 419. ISBN 9781930841987. Retrieved 25 August 2022.
  11. ^ Shirley, Hugo (2015). "Voices: Glossary". 30-Second Opera: The 50 Crucial Concepts, Roles and Performers, Each Explained in Half a Minute. London: Ivy Press. ISBN 9781782402992. Retrieved 25 August 2022.
  12. ^ Benninger, Michael S.; Murry, Thomas; Johns III, Michael M. (2015). The Performer's Voice (2nd ed.). San Diego, CA: Plural Publishing. p. 433. Retrieved 25 August 2022.
  13. ^ Ware, Clifton (1998). Basics of Vocal Pedagogy: The Foundations and Process of Singing. New York City: McGraw Hill Education. p. 193. ISBN 9780070682894. Retrieved 25 August 2022.
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  18. ^ Thielemann, Christian (2015). "(6) Money or Love: Wagner for Beginners". My Life with Wagner. London: Orion Publishing. ISBN 9780297608561. Retrieved 18 August 2022.
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  20. ^ Kelly, Thomas Forrest (2006). First Nights at the Opera. New Haven: Yale University Press. p. 231. ISBN 9780300115260. Retrieved 18 August 2022.
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  22. ^ McGinnis 2010, p. 258
  23. ^ a b Bickel, Jan E. (2016). Vocal Technique: A Physiologic Approach (2nd ed.). San Diego, CA: Plural Publishing. p. 86. ISBN 9781944883348. Retrieved 25 August 2022.
  24. ^ a b c d Libbey, Ted (2006). The NPR Listener's Encyclopedia of Classical Music. New York City: Workman. p. 864. ISBN 9780761120728. Retrieved 25 August 2022.
  25. ^ McGinnis 2010, p. 258
  26. ^ a b c Barber, Josephine (1985). German for Musicians. Forward by Dietrich Fischer-Dieskau. Bloomington, Indiana: Indiana University Press. p. 235. ISBN 9780253212603. Retrieved 25 August 2022.
  27. ^ McGinnis 2010, p. 258
  28. ^ Krause, Ernst (1969). Richard Strauss: The Man and his Work. Boston: Crescendo Publishing Company. p. 517. ISBN 9780875970240. Retrieved 25 August 2022.
  29. ^ Gilliam, Bryan, ed. (1992). Richard Strauss and His World. Princeton, NJ: Princeton University Press. p. 169. ISBN 9780691027623. Retrieved 25 August 2022.
  30. ^ Krause, Ernst (1963). Richard Strauss: Gestalt und Werk [Richard Strauss: Person and Work] (in German). Wiesbaden, Germany: Breitkopf & Härtel. p. 532. Retrieved 25 August 2022.
  31. ^ Krause 1969, p. 522
  32. ^ McGinnis 2010, p. 258
  33. ^ McGinnis 2010, p. 258
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  37. ^ Grove 2008, p. 252
  38. ^ Matheopoulos, Helena (1986). Divo: Great Tenors, Baritones, and Basses Discuss Their Roles. New York City: Harper & Row. p. 94. ISBN 9780060156343. Retrieved 24 August 2022.
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