A Comprimario Collection
Not every tenor is predestined to perform leading romantic roles in opera. Fortunately, the extensive body of comprimario tenor repertoire can be just as exhilarating. A comprimariorole is a supporting role in opera. It is derived from the Italian con primario, or “with the primary,” meaning the comprimario role is not a principal role. Not only are these roles a possible avenue for a successful career, they also offer a wealth of technical resources for developing tenors. Unfortunately, there is not a suitable compilation of recordings of arias dedicated to this repertoire. Each character in this diverse repertoire demands unique technical, musical, emotional, and acting skills. The primary goal of this project is to supply a collection of omprimario tenor aria recordings with translation and pedagogical notes to the operatic and academic community, and to bring a broader awareness of my experience in these roles to the musical world.
Collection Repertoire
(Titles link to translations, recording, and vocal considerations)
“My Love” from Candide by Leonard Bernstein
Aria of the Worm from The Ghosts of Versailles by John Corigliano
“O Columbina” from Pagliacci by Ruggero Leoncavallo
“This is my box” from Amahl and the Night Visitors by Gian Carlo Menotti
“Frisch zum Kampfe” from Die Entführung aus dem Serail by Wolfgang Amadeus Mozart
“Im Mohrenland gefangen war” from Die Entführung aus dem Serail by Wolfgang Amadeus Mozart
“Alles fühlt der Lebe Freuden” from Die Zauberflöte by Wolfgang Amadeus Mozart
“Jour et Nuit” from Les contes d’Hoffmann by Jacques Offenbach
Spoletta’s Monologue from Tosca by Giacomo Puccini
Goro Act I Highlights from Madama Butterfly by Giacomo Puccini
“Chi il bel sogno di Doretta” from La rondine by Giacomo Puccini
“To-to mi v hlave lezí” from Prodaná nevěsta by Bedřich Smetana
Tanzmeister's Aria from Ariadne auf Naxos by Richard Strauss
“À cette fètes conviés” from Eugene Onegin by Pyotr Ilyich Tchaikovsky
Loge’s Monologue from Das Rheingold by Richard Wagner
“Wer hälfe mir” from Das Rheingold by Richard Wagner
“Zwangvolle plage” from Siegfried by Richard Wagner
“My Love” from Candide by Leonard Bernstein
GOVERNOR
Poets have said
Love is undying, my love;
Don't be misled;
They were all lying my love.
Love's on the wing,
But now while he hovers,
Let us be lovers.
One soon recovers, my love.
Soon the fever's fled,
For love's a transient blessing.
Just a week in bed,
And we'll be convenlescing.
Why talk of morals
When springtime is flying?
Why end in quarrels,
Reproaches and sighing,
Crying for love?
My love?
CUNEGONDE
I cannot entertain
Your shocking proposition.
How could I regain
My virginal condition?
I am so pure that
Before you may bed me,
You must assure me
That first you will wed me.
Wed me!
GOVERNOR
Well then,
Since you're so pure,
I shall betroth you, my love,
Though I feel sure
I'll come to loathe you, my love.
Still for the thrill
I'm perfectly willing.
For if we must wed
Before we may bed,
Then come let us wed, my love!
Character and Vocal Discussion
Don Fernando is the governor of Buenos Aires. He becomes infatuated with Cunégonde and makes her his mistress despite her engagement to Candide. The role is a brief stop in the synopsis of Candide but makes a large vocal impact. The governor’s song, “My Love,” provides an opportunity for the singers to display a lush legato line with a compound time signature; which can be quite challenging to create an even flow of breath. The singer must take care to witfully color the poetry, but also maintain a lyric projection of the voice. Other obstacles abound in the aria as well, including pp approaches to the secondo passaggio and a tricky tessitura at the end of the aria. The song provides a fabulous opportunity for a young singer to test the upper echelon of the voice with the final B-flat.
Aria of the Worm from The Ghosts of Versailles by John Corigliano
Oh, the lion may roar.
And the eagle may soar.
And man may sail the darkest sea.
But the worm lives on eternally.
Long live the worm.
Cut him in two.
Each part'll renew.
Slice him to bits.
The worm persists.
He still crawls on.
Scales walls on
Sheer will and
Burrows burning sand.
Long live the worm.
He travels on by.
The poor man's sty.
Groveling past
The royal palace,
And enters the coffin
Of the red haired dauphin.
Long live the worm.
The wind whistles
And the storm bristles
And mud covers the ground.
The worm wanders round and round
Morning and night.
Hidden from sight.
Over mountain and shore.
Wanting more and more.
Devouring city and plain.
Enduring snow and rain.
Love live the worm.
Oh, the lion, dies.
The eagle dies,
and man dies.
But the worm lives on eternally.
Love live the worm.
Click here for a copy of the score.
Character and Vocal Discussion
The Aria of the Worm is perhaps one of the most challenging pieces in this collection. Bégearss is a complex character with an abundance of vocal demands throughout the opera. The Aria of the Worm presents a myriad of challenges, including range, tessitura, maniacal laughing, large intervallic leaps, melismatic passages, etc. It could easily be argued this aria is more difficult than any lyric tenor arias. Be mindful of dynamic markings throughout the score. The urges to sing heavy and too loud are many, so the piano dynamics will be quite helpful with pacing and passaggio singing. This may not be the most appropriate aria for a young tenor to begin exploring this repertoire. Its demands require a more mature and experienced singer with the ability to balance both dramatic and vocal demands.
“O Columbina” from Pagliacci by Ruggero Leoncavallo
Oh Colombina, il tenero fido Arlecchin è a te vicin!
Oh Colombina, the tender true Arlecchin is to you near!
Di te chiamando e sospirando aspetta il poverin!
For you calling and sighing awaits the poor thing!
La tua faccetta mostrami, ch'io vo' baciar, senza tardar,
Your little face show me, that I want to kiss, without delay
la tua boccuccia. Amor mi cruccia e mi sta a tormentar!
your little mouth. Love tortures me, and is tormenting me!
Oh Colombina schiudimi il finestrin,
Oh Colombina open to me the little window,
che a te vicin, di te chiamando e sospirando
who to you is near, for you calling and sighing
è il povero Arlecchin!
is the poor Arlecchin!
Character and Vocal Discussion
Perhaps one of the most iconic comprimario tenor arias, "O Columbina" is a beautiful Italian aria in this repertoire. Beppe as the Harlequin serenades Nedda's character, Columbina, proclaiming his love for her and asking her to come out and talk to him. The aria begins with a brief tuning of his instrument and transitions into a lyric melody with challenging passagio onsets and brief moments of high note exploration. The aria also presents several high notes on varied vowels, giving a developing singer an opportutnity to explore a variety of resonances. A fantastic piece for a younger tenor exploring the upper echolon of their voice, or perhaps a transitioning baritone to tenor repertoire.
“This is my box” from Amahl and the Night Visitors
by Gian Carlo Menotti
This is my box, this is my box...
I never travel without my box.
In the first drawer I keep my magic stones.
One carnelian against all evil and envy.
One moonstone to make you sleep.
One red coral to heal your wounds.
One lapis lazuli against quartern fever.
One small jasper to help you find water.
One small topaz to soothe your eyes.
One red ruby to protect you from lightning.
This is my box. This is my box...
I never travel without my box.
In the second drawer, I keep all my beads.
Oh! How I love to play with beads...
all kinds of beads!
This is my box...this is my box...
I never travel without my box.
In the third drawer...in the third drawer...
Oh little boy...oh little boy...
In the third drawer I keep...
Licorice! Licorice!
Black sweet licorice..black sweet licorice!
Have some.
Character and Vocal Discussion
Amahl and the Night Visitors is a holiday favorite for many opera companies around the world, so adding King Kasper to the mix of this repertoire is an obvious choice. Poor Kaspar struggles with his hearing through much of the piece, but when Amahl asks him about his box we see his character come to life with vibrancy. There is no introduction to the aria, so the performer must understand the "moment before" to fully grasp the fun at the start of the aria. Kaspar goes on to describe his stones, beads, and most importantly...licorice! Each items he sings about provides an opportunity for text painting and anticipation, especially the third drawer. Menotti's approach to the passagio is typically ascending to the upper range then descending through the mixed voice. The setting of "soothe" is quite helpful in navigating the transition to head voice. The irregular rhythmic patterns, angular vocal writing, and unnatural inflection of the aria’s modern style can distract from technical considerations so this piece should only be assigned to a tenor with good musicianship.The aria presents a few technical challenges, but lies at the easier end of the spectrum for this collection.
“Frisch zum Kampfe” from Die Entführung aus dem Serail
by Wolfgang Amadeus Mozart
Frisch zum Kampfe!
Now to battle!
Frisch zum Streite!
Now to arms!
Nur ein feiger Tropf verzagt.
Only cowards are afraid.
Sollt' ich zittern?
Should I tremble?
Sollt' ich zagen?
Should I quake?
Nicht mein Leben muthig wagen?
Rather than valiantly risking my life?
Nein, ach nein, es sei gewagt!
No, oh no, I'll take the risk!
Frisch zum Kampfe!
Now to battle!
Frisch zum Streite!
Now to arms!
Nur ein feiger Tropf verzagt.
Only cowards are afraid.
Character and Vocal Discussion
Pedrillo, Belmonte's servant and Blondchen's lover, is a classic side-kick character in Mozart's Die Entführung aus dem Serail. Pedrillo realizes that the only way that they will all get free of the Pasha is if he himself becomes bold. With this aria, he declares that he shall not be cowardly but, rather, shall be daring. "Frisch zum Kampfe" is another aria in this collection that provides the singer with an abundance of vocal challenges. The aria contains several passages that move through the passaggio, mixed with challenging catch breaths and longer high notes in head voice. There are several large interval leaps (up to B4) for the performer to execute as well. The arias offers an opportunity to work on breath power, stamina, and vocal consistency, even when there is irregular phrasing, patter singing, and varying breath types. It can be a fun challenge to find ways to execute Pedrillo fear mixed with his growing confidence in the scene.
“Im Mohrenland gefangen war” from Die Entführung aus dem Serail by Wolfgang Amadeus Mozart
Verse 1
Im Mohrenland gefangen war
In the land of the Moors imprisoned was
ein Mädel hübsch und fein;
a girl pretty and delicate;
Sah rot und wieß, was schwarz von Haar,
she had a rosy-white complexion and black hair,
seufzt Tag und Nacht und weinte gar,
sighed day and night and wept even,
wollt gern erlöset sein.
wanting badly to be freed.
Verse 2
Da kam aus fernem Land daher ein junger Rittersmann,
There cam along from a far-off land a young knight,
den jammerte das Mädchen sehr.
he felt sorry for the maiden very much.
"Ach," rief er, "wag ich Kopf und Ehr'.
"Ah," called he, "wage I head and honor.
wenn ich sie retten kann."
if only I can rescue her."
Verse 3
Ich komm zu dir in finstrer Nacht,
I come to you in the dark of night,
Laß, Liebchen, husch mich ein!
Let me in quickly, dearest!
Ich fürchte weder Schloß nocht Wacht,
I fear neither lock nor guard,
holla! Horch auf! Um Mitternacht
Ho there! Listen! At midnight
sollst du erlöset sein.
are you rescued to be.
Verse 4
Gesagt, getan Glock zwölfe stand der tapfre Ritter da;
No sooner said than done, at the stroke of twelve stood the valiant knight there;
sanft reicht sie ihm die weiche Hand
gently extends she to him her soft hand,
Früh man die leere Zelle fand; fort war sie, hopsasa!
In the morning they the empty cell found; gone was she, in a skip and a jump!
Character and Vocal Discussion
The lesser known of the two arias for Pedrillo in Die Entführung aus dem Serail, "Im Morenland" is not without its merits for the performer. In the piece, Pedrillo sings a song to signal the ladies to get ready to leave. It describes a girl who is caught by the Moors and how a knight came to to rescue her. It is a wonderful piece for the developing tenor, focusing consistent breath flow and even registration. The most dramtically challenging aspect of the aria is the strophic form presented through the 4 verses. The singer must carefully delineate dramatically the verses, paying careful attention to what phrases and words are most important to the storytelling of the song. "Im Mohrenland" provides yet another opportunity for a young singer to focus on legato singing and storytelling without the challenges of a rigorous tessitura or range.
“Alles fühlt der Lebe Freuden” from Die Zauberflöte
by Wolfgang Amadeus Mozart
Alles fühlt der Liebe Freuden,
Everyone feels of love the joys,
schnäbelt, tändelt, herzet, küßt;
bills and coos, cuddles and kisses;
Und ich soll die Liebe meiden,
And I should love avoid,
weil ein Schwarzer häßlich ist.
because a black man ugly is.
Ist mir denn kein Herz gegeben?
Was I too not given a heart?
Bin ich nicht von Fleisch und Blut?
Am I not made of flesh and blood?
Immer ohne Weibchen leben, wäre wahrlich Höllenglut.
Always without a little wife to live, would be truly like hellfire.
Drum, so will ich, weil ich lebe,
Therefore so want I because I am alive,
schnäbeln, küßen, zärtlich sein!
to bill and coo, tender be!
Lieber guter Mond...vergebe,
Dear good moon...forgive me,
eine Weiße nahm mich ein.
a white girl has charmed me.
Weiß ist schön, ich muß sie küsssen;
White is beautiful, I must her kiss;
Mond, verstecke dich dazu!...
Moon, hide yourself from it!
Sollt es dich zu sehr verdrießen, o so mach die Augen zu!
Should it you too much annoy, oh so shut your eyes closed!
Character and Vocal Discussion
Perhaps one of the most well-known comprimario roles in the repertoire, Monastatos presents many challenges to the performer, most notably PATTER. In his aria "Alles fühlt der lebe freuden," Monostatos sneaks into Pamina's room while she is sleeping and wishes that they could be together but knows that because he is black, he could never have her. He decides, though, that he must kiss her and, if anyone has a problem with it, then they don't have to watch. The quick-paced aria is chaulk full of lyrics that must be enunciated quickly while embodding a character of bitterness, greed, and selfishness. The strophic nature of the aria also present a challenge for the performer. There are moments of closed [u] and [o] vowels that can be helpful in transitioning through the passaggio. Luckily, the range and tessitura of the piece are quite pedestrian for the tenor voice.
“Jour et Nuit” from Les contes d’Hoffmann by Jacques Offenbach
Jour et nuit je me mets en quattre,
Day and night I get down on all fours,
au chaque signe je me tais,
at the least signal I keep quiet,
c'est tout comme si je chantais!
as if I were singing out loud all the time!
Encore non si je chantais
Yet no, if I sang
de ses mépris il lui faudrait rabattre.
his contempt he would have to lessen.
Je chante seul quelquefois, mais chanter m'est pas commode;
I sing alone sometimes, but singing isn't easy.
Tra la la, ce n'est pourtant pas la voix,
Tra la la, it isn't however not the voice,
qui me fait défault, je crois,
that fails me, I believe,
non, c'est la méthode!
no, it's only the lack of a proper technique!
Dame! on n'a pas tout en partage, je chante pitoyablement;
Hell! One can't have everything, in equal share, I sing pitifully;
Mais je danse agréablement,
But I can dance quite agreeably,
je me le dis sans compliment.
I say so myself without reservations.
Corbleu! la danse est à mon avantage,
By Jove! Dancing is my strong point,
c'est là mon plus grand attrait, et danser n'est pas commode!
that is my greatest attractiveness, and dancing isn't easy!
Tra la la, près des femmes le jarret
Tra la la, near the women my leg,
Tra la la, n'est pas ce qui me nuirait.
Tra la la, it isn't what would bother me.
Non, c'est la méthode!
No! It's the "method"!
Character and Vocal Discussion
We meet Frantz in Act II of Offenbach's Les Contes d'Hoffmann. Cresepl has charged him to watch over Antonia while he leaves the house, as they are both in hiding from Hoffmann. Frantz’s couplet "Jour et Nuit" is straightforward and unpretentious. It is quite similar to Vašek's aria in The Bartered Bride. Both have similar ranges and tessituras and use distorted language in their arias. Frantz’s Couplet features a syllabic French text with disruptive pauses. The disjunct setting of the texts challenges the tenor to execute clear onsets and releases and maintain correct regiistration without the assistance of a legato line. The tessitura of the aria is quite comfortable with the occassional ascent to A4. The singer must be careful to articulate the [l] with precision to assist with proper registration and modification of vowel.
Frantz is also a character sing. While there must be moments of vocal beautiy, there are a few passages than an be afforded character nuance. It is customary for singers to perform a vocal "crack" on one of the ascent to an A4, as Frantz laments his lack of technique. The second verse explores Frantz's "talents" as a dancer. The performer may include a physical stumble or ailment on the same arpeggiated ascent to the A4. The strongest performances of Frantz will be imbued with a sense of vocal beauty and integrity sprinkled with moments of appropriate humor.
Spoletta’s Monologue from Tosca by Giacomo Puccini
(Sant'Ignazio m'aiuta!) Della signora sequimmo la traccia.
(Saint Ignatius help me!) Of the lady we followed the trail.
Giunti a un'erma villetta
Having reached a solitary little villa
tra le fratte perduta ella v'entrò.
among the thickets lost, she entered.
N'escì sola ben presto.
She came out alone, very quickly.
Allor scavalco lesto il muro del giardin coi miei cagnotti
Then I climb quickly the wall of the garden with my spies
e piombo in casa...
and I rush into the house...
Fiuto!...razzolo!...frugo!...
I sniff!...I rummage!...I search!...
Non s'è trovato!
He wasn't found!
Gesù! C'era il pittor...
Jesus! There was the painter...
Ei sa dove l'altro s'asconde...ogni suo gesto,
He knows where the other is hiding...every his gesture,
ogni accento tradìa tal beffarda ironia,
every word betrayed such mocking irony,
ch'io lo trassi in arresto.
that I put him under arrest.
Egli è là.
He is there.
Character and Vocal Discussion
Not all comprimario roles have significant arias, but that does not make them less integral to the story, or mean they do not have substantial musical moments in the score. In Puccini's Tosca, Spoletta, one of Scarpia’s spies, arrives with the news they have been unable to find Angelotti, but they have arrested Cavaradossi. Spoletta is one seriously creepy fellow, largely a one-dimensional lackey to Scarpia. Similar to many other comprimario features, the monologue contains many moments of patter, exuding the ferocity of Spoletta as he apprends Cavaradossi. Spoletta remains loyal to the true wishes of Scarpia to the end of the opera, displaying his vile demeanor throughout the opera. It is quite easy to create too much tension in a character like Spoletta. Remember, perception is reality. You can exhude his vile demeanor without causing yourself vocal fatigue.
Goro Act I Highlights from Madama Butterfly by Giacomo Puccini
GORO
Vanno e vengono a prova norma che vi giova
They go and come at will ways to you please
nello stesso locale alternar nuovi aspetti ai consueti
in the same locality alternate new arrangements for familiar ones.
PINKERTON
Il nido nuzial dov'è?
The nest nuptial where is it?
GORO
Qui o là...secondo...
Here or there...depending...
****
GORO
Questa è la cameriera, che della vostra sposa
This one is the maid, who of your bride
fu la serva amorosa. Il cuoco...il servitor.
was the servant loving. The cook...the butler.
Son confusi del grande onore.
They're overcome by the great honor.
PINKERTON
I nomi?
Their names?
GORO
Miss "Nuvola Leggiera"
Miss "Cloud Light"
"Raggio di Sol Nascente." "Esala Aromi."
"Ray of Sun Rising." "Exhales Aromas."
****
GORO
Qui verran: L'Ufficiale del Registro,
Here will come: The Officer of the Registry,
i parenti, il vostro Console, la fidanzata.
the relatives, your Consul, the betrothed.
Qui si firma l'atto, e il matrimonio è fatto.
Here one signs the act, and the marriage is done.
PINKERTON
E son molti i parenti?
And are many the relatives?
GORO
La suocera, the nonna, lo zio Bonzo
The mother-in-law, the grandmother, the uncle Bonze
(che non ci degnerà di sua presenza)
(who will not us will honor with his presence)
E cugini, e le cugine...mettiam fra gl'ascendenti
and male cousins and female cousins...let us say between the ancestors
ed i collaterali, un due dozzine.
and the collateral kin, about two dozen.
Quanto alla discendenz, provvederanno assai
As for the descendants, will provide amply
Vostra Grazia, e la bella Butterfly.
Your Grace, and the lovely Butterlfy.
****
GORO
Una ghirlanda die fiori freschi, una stella dai raggi d'oro.
A garland of flowers fresh, a star with rays of gold.
E per nulla: Sol cento yen.
And for nothing Only a hundred yen.
Se Vostra Grazia mi comanda ce n'ho un assortimento.
If Your Grace me commands, I have of them an assortment.
****
GORO
L'Imperial Commissario. L'Ufficiale del Registro. I congiunti.
The Imperial Commissioner. The Officer of the Registry. The relatives.
Character and Vocal Discussion
Goro Toshitake was a Japanese marriage broker who lived in Nagasaki during the early 20th century. In 1904, he arranged the marriage of US Navy lieutenant Benjamin F. Pinkerton and local Japanese girl Chocho-san, but, when it became apparent that Pinkerton would not return after a three-year absence by 1907, Goro suggested that Chocho-san should accept Prince Yamadori's offer of marriage. Cho-cho-san came to despise Toshitake, whom she accused of spreading false rumors about her distant husband's intentions, and she maintained her blind faith in her husband until her death by seppuku on her discovery that Pinkerton had remarried and had returned to Japan to take her son from her.
This selection is a wonderful pasticcio of highlights of Act I from Madama Butterfly. Goro does not have an aria; however the role has several features as he is showing Pinkerton his new house and servants. Goro role is imbued with several moments of comedy relief, but one must not lose sight that at the heart of his intentions is true opportunism. The role of Goro can provide many professional opportunities for tenors pursuing this repertoire.
“Chi il bel sogno di Doretta” from La rondine by Giacomo Puccini
Chi il bel sogno di Doretta potè indovinar?
Who the beautiful dream of Doretta could guess?
Il suo mister nessun mai scoprì!
Her mystery no one ever discovered!
Un bel giorno il re la bimba volle avvicinar:
One fine day the king wished to approach the girl:
"Se tu a me credi,
"If you in me believe,
se tu a me cedi, ti farò ricca!
If you to me give in, I'll make you rich!
Ah! creatura! Dolce incanto!
Ah! child! Sweet enchantment!
La vana tua paura,
The vain your fear,
il tepido tuo pianto ora sparirà!"
the tepid your tears, now will vanish!"
"No, mio sire! No, non piango!
"No, My Sire! No. I don't weep!
Ma come son, rimango,
But as I am, I will remain,
che l'oro non può dare la felicità!"
for gold cannot give happiness!"
Character and Vocal Discussion
Prunier, a poet and secretly the lover of Magda’s maid, Lisette, declares that romantic love is back in fashion. No one except Magda takes him seriously. Prunier starts to sing a ballad he has written about a girl who rejects the love of a king. The melody is lyrical with melodramatic spoken interjections. It forms the basis for the famous aria, "Chi il bel sogno di Doretta," that Magda later finishes as Prunier has not yet found his inspiration. Magda sits at the piano and finishes the song, making up a second verse that tells how the girl falls in love with a student. It may be worth learning the opening of the aria on the piano if one has the skill to play the introduction. It adds a wonderful diagetic element to the opera. The iconic beautiful melody is sung in a legato fashion with little vocal difficulty in tessitura or range. There are a few moments of sustained singing in the upper passaggio; which Puccini has set advantageously on open vowels. The role has many more challenging moments, including optional high Cs in the second act ensemble, but this is the most well-known melody in the score for Prunier.
“To-to mi v hlave lezí” from Prodaná nevěsta by Bedřich Smetana
(Vašek's stuttering aria)
Mu- Mum told me herself
"You'll get left on the shelf.
I- If you don't decide
To- to- to take a bride
make haste and find a gir- girl."
I'm in a whir- whirl,
my head keeps going round and round.
I- I- I'm much too sh- shy,
I can't say wh- why,
I'll come a cropper, I'll be bound!
Wha- what am I to do?
O! O! I wish I knew,
All the people here are m- m- making fun!
All the girls in the village here
will be m- m- making fun
m- m- m- m- m- m- making fun,
All the girls making fun,
I'm so shy, can't say why,
what a fool I shall be
what a fool I shall be.
Character and Vocal Discussion
Vašek is young and slightly simple, and is more interested in the arrival of a circus to entertain the villagers. He later proves his unsuitability as a husband to Mařenka when he appears as a circus performer, costumed as a dancing bear. Vašek is a fun character with a wonderful aria for young developing tenors. Vašek’s aria is melodically and harmonically straightforward. the form is simple and stays in a comfortable range and tessitura, simliar to many of the arias previously discussed. The vocal line in the opening is comprised of a limited range, typically between a disjunct D4 and E4, mimicking the idea of Vašek's stuttering throughout the aria. This is an excellent opportutnity for tenors to excute refined onsets in the upper mixed voice to avoid vocal fatigue.
The final section of the aria requires fast, tongue-twisting patter in the chest register. This part of the aria does not need to be beautifully sung, but it must be precisely enunciated without over-articulation to avoid tension in the final passaggio notes. Overall, this piece can be used to solidify the chest voice and mixed voice, allowing the developing tenor to have fun while experimenting in his upper range.
Tanzmeister's Aria from Ariadne auf Naxos by Richard Strauss
Im Gegenteil. Man kommt von Tisch, man ist beschwert
On the contrary. They've gotten up from the table, they feel too full.
und wenig aufgelegt, man macht unbemerkt ein Schläfchen,
and disinclined for anything save forty winks.
klatscht dann aus Höflichkeit und um sich wach zu machen.
They clap then out of politeness in order to wake themselves up.
Indessen ist man ganz munter geworden
In the meantime they have quite lively become.
"Was kommt jetzt?" sagt man sich. Die ungetreue Zerbinetta
"What comes next?" they ask themselves. The Fickle Zerbinetta
und ihre vier Liebhaber: ein heitres Nachspiel mit Tänzen,
And Her Four Suitors: A merry epilogue with dancers,
leichte, gefäll'ge Melodien, ja! Eine Handlung
light, tuneful melodies, yes! A plot
klar wie der Tag; da weiß man woran man ist.
clear as daylight where one knows where one is.
Das ist unser Fall, sagt man sich, da wacht man auf,
"That's what we like," they say to themselves, "now we can wake up,"
da ist man bei der Sache!
"now we know where we are with this!"
Und wenn sie in ihren Karossen sitzen,
and when they are driving home in their cars,
wissen sie überhaupt nichts mehre als daß sie die un vergleichliche
they know absolutely nothing more than that they the incomparable
Zerbinetta haben tanzen sehn.
Zerbinetta have dancing seen.
Character and Vocal Discussion
Counterpart to the music master, the dancing master is a shallower, flightier character, who is in agreement with the comedians that Ariadne will be a sorry entertainment for their patron's guests. He is astute enough to help persuade the composer to make cuts in the score, however, and knows how to flatter the artists, telling the tenor that only Ariadne's part will be scaled down.
The Tanzmeister's aria is one of the more challenging pieces in the repertoire. The aria consists of irregular rhythms, sporadic leaps and angular melodies. It is also jam packed with German. The delivery should have an organic recit-like approach; while maintaining a strict inner pulse with the active accompaniment. The performer must have sound control of articulation as the vocal line navigates through several registers of the voice. The tenor must have adequiate control of breath to master the sudden sporadic registration shifts. The final phrase is one of the most challening. The singer begins on an G4, ascends to B4, and arpeggios over an octave to complete the aria on Eb4.
“À cette fètes conviés” from Eugene Onegin
by Pyotr Ilyich Tchaikovsky
Click here for a document containing translations for Russian Recitative
A cette fête conviés, de celle dont le jour est fêté
At this feast invited, of the one whose the day is celebrated
Contemplons le charme et la beauté.
let's contemplate the charm and the beauty.
Son aspect doux et enchanteur répand sur nous tous sa lueur,
Her appearance pleasant and enchanting spreads on us all its glow,
De la voir quel plaisir, quel bonheur!
of seeing what pleasure, what happiness!
Brillez, brillez, toujour, belle Tatiana!
Shine, shine, always, beautiful Tatiana!
Que le sort comble ses désirs, que la joie, les jeux, les plaisirs,
May the fate grant her all her wishes, may the joy, the games, the pleasures,
Fixent sur ses lèvres le sourire! Que sur le ciel de ce pays
put on her lips the smile! May on the sky of this country,
Étoile qui toujours brille et luit, elle éclaire nos jours et nos nuits.
a star that always shines and glows, she brightens our days and our nights.
Brillez, brillez, toujour, belle Tatiana!
Shine, shine, always, beautiful Tatiana!
Character and Vocal Discussion
Monsieur Triquet, a minor character in Tchaikovsky's Eugene Onegin, is a ridiculous figure who fancies himself a poet. He “passes for witty” but is, in fact, a bit of a bore, old-fashioned with a “Gallic” way to him. Triquet's couplets offer an accessible aria for young tenors and exposure to a bit of Russian recitative. The french mélodie is lovely and sits in an approachable tessitura. Triquet's "Brillez" affords the performer access to the upper passaggio on closed [i] and [e] vowels; which can be quite useful in developing access into the upper extension. the melody is mostly stepwise and stays in the chest voice. The legato line will help with consistent placement and continuous airflow. The easy rhythms and straightforward phrasing encourage clear, correct vowel and consonant articulation.The singers can employ uvular r sounds in both the Russian recitive and aria to have a more Parisian flare. It is a wonderful cameo role that does not require endurance or stamina for multiple acts. The strophic nature of the aria does demand that the performer make character distinctions between the verses. Simply reading the couplets for the duration of the aria is not an appealing choice.
Loge’s Monologue from Das Rheingold by Richard Wagner
Immer ist Undank Loges Lohn!
Always is ingratitude Loge's reward!
Für dich nur besorgt sah ich mich um,
For you only concerned I look around,
durchstöbert im Sturm alle Winkel der Welt,
scoured tempestously all the corners of the world,
Ersatz für Freia zu suchen,
a replacement for Freia to seek,
wie er den Risen wohl recht.
as it the giants would properly satisfy.
Umsonst sucht'ich und sehe nun wohl:
In vain I searched and I see full well:
in der Welten ring nichts ist so reich,
the whole world nothing is so reich,
als Ersatz zu muten dem Mann
as a replacement to satisfy a man
für Weibes Wonne und Wert!
for a woman's delight and worth!
So weit Leben und Weben, in Wasser, Erd' und Luft,
Wherever life does move, in water, land and air,
viel frug ich, forschte bei allen,
much I inquired, I sought of all,
wo Kraft nur sich rührt, und Keime sich regen:
wherever force does stir and buds come alive:
was wohl dem Manne mächt'ger dünk',
what ever a man more powerful thinks,
als Weibes Wonne und Werth?
than woman's delight and worth?
Doch so weit Leben und Weben, verlacht nur ward
Yet wherever life stirs derided only was
meine fragende List:
my questioning guile:
in Wasser, Erd' und Luft lassen will nichts
in water, land or air nothing will forego
von Lieb' und Weib.
love nor woman.
Nur einen sah ich, der sagte der Liebe ap:
Only one man I saw who renounced love:
um rotes Gold entriet er des Weibes Gunst.
For red gold he gave up woman's favor.
Des Rheines klare Kinder klagten mir ihre Not:
The Rhine's pure daughters lamented to me their woe:
der Nibelung, Nacht-Alberich buhlte vergebens
The Nibelung, Night-Alberich courted in vain
um der Badenden Gunst;
for the bather's favor;
das Rheingold da raubte sich rächend der Dieb:
the Rhinegold there stole for himself in revenge the thief:
das dünkt ihm nun das teuerste Gut,
this he believes is now the most precious possession,
hehrer also Weibes Huld.
more sublime than woman's grace.
Um den gleissenden Tand, der Tiefe entwandt,
For that glimmering bauble from the depths wrested,
erklang mire der Töchter Klage:
rang in my ears the daughter's lament:
an dich, Wotan, wenden sie sich,
to you, Wotan, they turn,
dass zu Recht du zögest den Räuber,
so that justice you may mete out the robber,
das Gold dem Wasser wieder gebest,
the gold to the water return,
und ewig es bleibe ihr eigen.
and eternally it should remain their own.
Dir's zu melden gelobt 'ich den Mädchen;
to you it to communicate did I promise the maidens:
nun löste Loge sein Wort.
now kept Loge his word.
“Wer hälfe mir” from Das Rheingold by Richard Wagner
Wer hälfe mir! Gehorchen muss ich dem leibliechen Bruder,
Who could help me! Obey I must my own brother,
der mich in Bande gelegt.
who me in bonds has put.
Mit arger List schuf sich Alberich
With wicked craft made himself Alberich
aus Rheines Gold einen gelben Reif:
out of the Rhine's gold a yellow ring:
seinem starken Zauber zittern wir staunend;
its strong magic we tremble at in awe;
mit ihm zwingt er uns alle,
with it he coerces us all,
der Niblungen nächt'ges Heer.
the Nibelungs' dark legion.
Sorglose Schmiede schufer wir sonst wohl
Carefree smiths, we used to make once
Schmuck unsern Weibern, wonnig Geschmeid'
jewelry for our wives, pretty ornaments,
niedlichen Niblungentand: wir lachten lustig der Müh'.
neat Nibelung trinkets: we laughed happily at our toil.
nun zwingt uns der Schlimme, in Klüfte zu schlüpfen,
Now forces us the evil one into crevices to slither,
für ihn allein uns immer zu müh'n.
for him alone us forever to toil.
Durch des Ringes Gold errät seine Gier,
Through the ring's gold guesses his greed,
wo neuer Schimmer im Schachten sich birgt:
where new luster in crevices is buried:
da müssen wir spähen, spüren und graben,
then we have to search, trace and dig,
die Beute schmelzen, und schmieden den Guss,
the booty smelt, and forge the molten ore,
ohne Ruh' und Rast dem Herrn zu häufen den Hort.
without peace or rest for the master to pile up the hoard.
Mich Ärmsten, ach! mich zwang er zum Ärgsten:
Me, most unfortunate of all, ah! Me he forced to the hardest:
ein Helmgeschmeid' hiess er mich schweissen;
a magic helmet he told me to weld;
genau befahl er, wie es zu fügen.
exactly he specified how it should be fashioned.
Wohl merkt'ich klug, welch mächt'ge Kraft
Well I noticed cleverly what powerful force
zu eigen dem Werk, das aus Erz ich wob;
resided in the work which out of ore I forged;
für mich drum hüten wollt'ich den Helm;
for myself therefore to keep I wanted to the helmet;
durch seinen Zauber Alberichs Zwang mich entzieh'n:
through its magic Alberich's yoke to ride myself of:
vielleicht...ja vielleicht den Lästigen selbst überlisten,
perhaps...yes perhaps the tyrant himself to outwit,
in meine Gewalt ihn zu werfen,
in my power to cast him,
den Ring ihm zu entreissen, dass,
the ring to wrest away from him, so that,
wie ich Knecht jetzt dem Kühnen,
as I am a slave now to the bold one,
mir Freien er selber dann fröh'n!
to me, the free one, he himself then should be in thrall!
Ach, der das Werk ich wirkte,
Alas though the work I fashioned,
den Zauber der ihm entzückt,
the magic that charmed it,
den Zauber erriet ich nicht recht!
the magic I did not guess correctly!
Der das Werk mir rieth, und mir's entriss,
He who the work taught me and then snatched from me,
der lehrte mich nun, - doch leider zu spät,
he taught me, yes, but unfortunately too late,
welche List läg' in dem Helm.
what cunning powers lay in the helmet.
Meinem Blick entschwand er:
From my sight he vanished,
doch Schwielen dem Blinden schlug unschaubar sein Arm.
yet welts on the unseeing one rained invisible his arm.
Das schuf ich mir Dummen schön zu Dank!
That's what I got, the stupid one, nicely as thanks!
“Zwangvolle plage” from Siegfried by Richard Wagner
Zwangvolle plage! Müh' ohne Zweck!
Enforced torment! Toil without point!
Das beste Schwert, das je ich geschweisst,
The best sword that ever I welded
in der Riesen Fäusten hielte es fest:
in giants' fists would have held firm,
doch dem ich's geschmiedet, der schmähliche Knabe,
yet he for whom I forged it, that insolent boy,
er knickt und schmeisst es entzwei,
he breaks and shatters it into two
als schüf' ich Kindergeschmeid!
as if I had forged some child's toy!
Es gibt ein Schwert, das er nicht zerschwänge:
There is one sword that he would not be able to shatter:
Nothung's Trümmer zertrotzt' er mir nicht,
Nothung's fragments he wouldn't be able to challenge,
könnt' ich die starken Stücken schweissen,
could I but the strong pieces weld,
die meine Kunst nicht zu kitten weiss.
which my craft not to piece together knows.
Könnt' ich's dem Kühnen schmieden,
Could I it for that brave boy forge,
meiner Schmach erlangt' ich da Lohn!
for my shame I'd receive my recompense!
Fafner, der wilde Wurm, lagert in finst'ren Wald;
Fafner, the fierce dragon, dwells in the dark woods;
mit des furchtbaren Leibes Wucht
with his fearsome body's weight
der Niblungen Hort hütet er dort.
the Nibelungs' hoard he guards there.
Siegfrieds kindischer Kraft erläge wohl Fafners Leib:
Siegfried's boyish strength would lay low Fafner's hulk;
des Niblungen Ring erränge ich mir.
the Nibelung's ring I'd get to possess!
Nur ein Schwert taugt zu der Tat;
Only one sword is fit for this deed,
nur Nothung nützt meinem Neid,
only Nothung could serve my greed,
wenn Siegfried sehrend ihn schwingt:
if Siegfried furiously swing it!
Und ich kann's nicht schweissen, Nothung, das Schwert!
And I cannot weld it, Nothung, the sword!
Zwangvolle plage! Müh' ohne Zweck!
Enforced torment! Toil without point!
Das beste Schwert, das je ich geschweisst,
The best sword that ever I welded
nie taugt es je zu der einzigen Tat!
never will it be good enough for that one mighty deed!
Ich tapp're und hämm're nur,
I tap away and hammer away only
weil der Knabe es heischt:
because the boy demands it.
er knickt und schmeisst es entzwei,
he breaks and shatters it into two
und schmälht doch, schmied' ich ihm nicht!
and reviles me still, forge I for him not!
Character and Vocal Discussion
Mime’s arias has complex vocal writing. It is appropriate for the advancing tenor who sings comfortably through the upper register but may not have a particularly beautiful sound. The vocal line often utilizes triadic, scalar, and repeated note patterns. The German text is syllabically set in a quasi-recitative style, and the rhythms are straightforward, typically following the language’s natural inflection. Throughout the aria, many of the higher notes in or above the passaggio feel intuitive within the melodic line, aiding the text declamation and inflection.
Tenors who perform Mime often have sizeable, steely voices. They are comfortable in a lower tessitura, which relies on excellent chest-mix balance, breath control, and endurance. Though there are few high notes, tenors who sing this repertoire must be able to move easily between the chest, mixed, and head registers to avoid carrying excess weight into the second passaggio. Mime’s aria also gives little time to prepare register shifts.
Character and Vocal Discussion
In Norse mythology, from which The Ring story is culled, Loge is the God of Fire; a shape changer and trickster whose mischief-making is a constant irritant to the gods. He is the killer of Baldur, son of Wotan, and the main instigator of Ragnarok, the mythical destruction of the gods and their universe. Loge is the god of fire, though he's an outsider among the gods. He also acts as Wotan's counselor. Loge has an adaptable character and has a strong urge to search for freedom.
Due to the orchestration, Loge requires a heavier voice than Mime and typifies Wagner’s dramatic comprimario tenor style. Like Mime, Loge’s tessitura centers on the chest voice, but the range extends into the upper register. Loge’s aria is syllabic but has more complicated rhythms and longer, higher notes. It is also wordy, making register navigation and consistent resonance difficult. While the concerns of Loge and Mime’s arias are similar, Loge’s aria focuses more on singing with penetrating resonance, vocal weight, and endurance in a wider range.
Character and Vocal Discussion
Mime is a coward, a fearful loser with guilt complex but also with secret plans for domination. Mime's only reason to socialize and raise Siegfried is to eliminate the threatening giant Fafner. Mime complains bitterly and opportunistically about the ungratefulness of Siegfried. Mime sees in Siegfried his ticket to world domination. Siegfried's cruelty to Mime to is often difficult to comprehend for a person with a conscience; even if Mime is a slimy villain, you wish his ungrateful charge would pay him some respect. However Wagner paints Mime as so inept, such an egotistical, murderious, anti hero; that no matter what he does he's going to get it wrong.
Tenors who perform Mime often have sizeable, steely voices. They are comfortable in a lower tessitura, which relies on excellent chest-mix balance, breath control, and endurance. Though there are few high notes, tenors who sing this repertoire must be able to move easily between the chest, mixed, and head registers to avoid carrying excess weight into the second passaggio. Mime’s aria also gives little time to prepare register shifts. "Zwangvolle plage" begins orchestratlly with the anvil theme, doubled by rhythmically by Mime. The performer must have have excellent inner pulse to perform the anvil strikes along with the orchestra; all the while performing a difficult vocal line with angular leaps and declamtory singing. One of the many reasons Mime, especially in the opera SIegfried, is one of the more advanced characters in this repertoire.