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Home , Alto, Anthony Hicks, Aria, Armida (Mysliveček), Armida (Sacchini), Armida (Salieri)

A ’S REFERENCE GUIDE TO OPERATIC REPERTOIRE

Brad Morris

A Thesis

Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of

MASTER OF

May 2019

Committee:

Christopher Scholl, Advisor

Kevin Bylsma

Eftychia Papanikolaou

© 2019

Brad Morris

All Rights Reserved iii ABSTRACT

Christopher Scholl, Advisor

There are few resources available for to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. were selected based on the premise that the original singer was a , the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the , and the pedagogical significance of each is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male can find usable repertoire in this guide. iv

I dedicate this thesis to all of the music educators who encouraged me on my countertenor

journey and who pushed me to find my own path in this field. v PREFACE

One of the hardships while working on my Master of Music degree was determining the

lack of resources available to countertenors. While there are opera repertoire books for ,

mezzo-sopranos, , , and basses, none is readily available for countertenors.

Although there are online resources, it requires a great deal of research to verify the validity of those sources. There is also a false perception that countertenors can only pull operatic repertoire from Purcell, Handel, and Britten. This idea is perpetuated for a few reasons. Since being a countertenor requires a conscious exploration of the , not many students continue their study as a countertenor long enough to fully explore the repertoire available. When students begin countertenor training, teachers are likely to give them repertoire from Purcell and Handel because they are commonly performed composers for countertenors. Handel wrote certain roles for specific castrato singers. Today these roles are performed by countertenors.

Countertenors may be pointed to Britten because A Midsummer Night’s Dream is a famous, and widely performed, opera featuring a countertenor lead. Countertenors that do not continue their training miss the opportunity to delve into other possibilities in opera. This prevents teachers from also exploring the repertoire available because few teachers have had the opportunity to teach countertenors.

After struggling to find specific music resources on countertenors in the library, I found

myself reading books on the castrati and the . This led me to learn about repertoire I was

unaware existed. I read more about the use of castrati in the of Handel, Gluck, and

Mozart. This is where I discovered my love for Mitridate, rè di Ponto. The more I read, the more

I realized how much of a disservice it is to countertenors and teachers of countertenors to lack

easy access to this repertoire. Therefore, the decision was made to compile a repertoire guide that

could be used by countertenors and male sopranos at varying levels. vi Along with scouring the internet for books, using my university library and materials

from other colleges and universities, I searched through every vocal score available to me to see

what a countertenor could sing. This is how I came upon the works of Cavalli, Haydn, Henze,

Weir, Davies, Dove, and Long. I discovered the works of Garner through Soundcloud and had

the pleasure of emailing him about his use of countertenors in his operas. Going through vocal

scores took an enormous amount of time because I wanted to provide a list of “extended study”

pieces with each chosen aria. This meant searching through the scores of multiple operas by the

same composer to find useable repertoire. I searched through seventy-three opera scores to find

potential repertoire.

Once I selected arias I wanted to include in this guide, I provided brief introductions

about the composer and the piece that could guide a countertenor into selecting appropriate

repertoire. I also provided a study sheet with basic information about each aria that could be

given to a student. The ultimate goal of this thesis is that any countertenor may select a

countertenor aria from this guide and have basic but useful information about each.

This project is the culmination of my own research into repertory that I want to learn and

sing. Before undertaking this research, I was a countertenor seeking to perform opera with little

knowledge of the repertoire available. Obviously, this list will continue to grow as I continue my

research and additional repertory becomes available. For now, this guide has helped me to discover opera arias I am eager to sing and repertoire I can recommend to my students in the future. My hope is that others may benefit from this work as well.

vii

TABLE OF CONTENTS

Page

CHAPTER I. “DELIZIE CONTENTE” BY ...... 1

Introduction ...... 1

“Delizie contente” ...... 1

CHAPTER II. “OUR NEXT MOTION” BY ...... 3

Introduction ...... 3

The Sorceress Debate ...... 3

“Our Next Motion” ...... 4

CHAPTER III. “” BY GEORGE F. HANDEL ...... 7

Introduction ...... 7

The Popularity of “Ombra mai fu” ...... 7

The Music ...... 8

CHAPTER IV. “SULLA RUOTA DI FORTUNA” BY GEORGE F. HANDEL ...... 11

Introduction ...... 11

“Sulla ruota di fortuna” ...... 11

CHAPTER V. “QUAL SERPE TORTUOSA” BY ...... 14

Introduction ...... 14

“Qual serpe tortuosa” ...... 14

CHAPTER VI. “J’AI PERDU MON ” BY CHRISTOPH W. GLUCK ...... 17

Introduction ...... 17

“J’ai perdu mon Eurydice”...... 17

viii

CHAPTER VII. “QUALCHE VOLTA NON FA MALE” BY HAYDN ...... 20

Introduction ...... 20

“Qualche volta non fa male” ...... 20

CHAPTER VIII. “AL MIO BEN MI VEGGIO AVANTI” BY WOLFGANG A. MOZART 22

Introduction ...... 22

“Al mio ben mi veggio avanti” ...... 22

CHAPTER IX. “VA, L’ERROR MIO PALESA” BY WOLFGANG A. MOZART ...... 24

Introduction ...... 24

“Va, l’error mio palesa” ...... 24

CHAPTER X. “FLOWER OF THIS PURPLE DYE” BY ...... 27

Introduction ...... 27

“Flower of this Purple Dye” ...... 27

CHAPTER XI. HONORABLE MENTIONS ...... 30

Introduction ...... 30

Hans Werner Henze (1926-2012) ...... 30

Peter Maxwell Davies (1934-2016) ...... 31

Zhou Long (b. 1953) ...... 31

Phillip Glass (b. 1937) ...... 32

Jonathan Dove (b. 1959) ...... 33

Judith Weir (b. 1954) ...... 33

James Garner (b. 1992) ...... 34

BIBLIOGRAPHY ...... 35

ix

LIST OF FIGURES

Figure Page

1 Study Sheet ...... 2

2 Study Sheet ...... 6

3 Study Sheet ...... 10

4 Study Sheet ...... 13

5 Study Sheet ...... 16

6 Study Sheet ...... 19

7 Study Sheet ...... 21

8 Study Sheet ...... 23

9 Study Sheet ...... 26

10 Study Sheet ...... 29

1

CHAPTER I. “DELIZIE CONTENTE” BY FRANCESCO CAVALLI

Introduction

When assigning vocal repertoire to a beginning college student, most voice teachers utilize Twenty-Four Italian and Arias of the Seventeenth and Eighteenth Centuries.1

Schirmer has released an updated book, called 28 Italian Songs and Arias of the Seventeenth and

Eighteenth Centuries, that features Francesco Cavalli’s “Delizie contente.”2 Francesco Cavalli was a major opera composer of the early Baroque period who wrote roles for the castrati. The

reason he is not discussed to the extent that Purcell or Handel are is because modern editions of

his operas were not made accessible until the twentieth century. There has also been contention

by musicologists on the accuracy of the realizations and editions by .3 “Delizie contente” is worth assigning to a budding countertenor because it was originally sung by a castrato and Schirmer editions have the aria available in five different keys.

“Delizie contente”

Giasone was a popular satirical opera based on the story of Jason and the Argonauts.

“Delizie contente” is ’s entrance aria about the pleasures of love. When looking at key, the range is F4 to Eb5. A teacher could easily adjust this aria to the countertenor’s needs. The vocal line primarily moves in step-wise motion. This would be an excellent

technique-building piece for a beginning to intermediate student. “Delizie contente” is also a great piece with which to discuss collaboration etiquette between a pianist and vocalist because of its use of on the end of phrases.

1Twenty-Four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries (New York: Schirmer, 1948). 2 28 Italian Songs and Arias of the Seventeenth and Eighteenth Centuries (New York: Schirmer, 2013), 234-265. 3Carl B. Schmidt, “Review of L’ by Francesco Cavalli,” Journal of the American Musicological Society 24, no. 2 (1971): 313-17.

2

Study Sheet is neglecting his responsibilities. He goes on

a journey, faces monsters, and captures the

Piece: “Delizie contente” (Medium Key) golden fleece. The opera ends by resolving

Character: Giasone the overlapping love interests between the

Opera: Giasone (Jason, 1648) principal characters.

Composer: Francesco Cavalli (1602-1676) Vocal Requirements:

Librettist: Giacinto Andrea Cicognini This piece requires phrasing. Cavalli

(1606-1650) was phenomenal at interweaving the vocal

inflections of spoken Italian text with the

Range: .

Tessitura: Extended Study:

Language: Italian “Lucidissima face…” ()

Original Singer: Amato Riminuzzi “Lidio [selections]” (L’Egisto)

( castrato) Book Recommendation:

Character Type: Leader of Argonauts, Ellen Rosand, ed., Readying Cavalli's

warrior, lazy as of late, lover of , Operas for the Stage: Manuscript, Edition,

lustful Production (New York: Taylor & Francis,

Character Synopsis: 2016).

“Delizie contente” is the entrance aria of Wendy Heller, Emblems of Eloquence:

Giasone. He sings about being content with Opera and Women’s in Seventeenth- the pleasures of love and sex. His Century (Los Angeles: The companions fear that he has gotten soft and University of California Press, 2003).

3

CHAPTER II. “OUR NEXT MOTION” BY HENRY PURCELL

Introduction

When exploring vocal repertoire specifically for countertenors, there are few composers

who are foundational staples. Henry Purcell’s compositions are a necessity in a countertenor’s

repertoire package because his compositions feature and/or are commonly performed by

countertenors today. However, Dido & Aeneas is technically the only true opera Purcell wrote.

All of his other staged works are semi-operas or incidental music for theatrical performances.

What keeps Purcell’s music relevant to modern audiences is his superior writing for the voice

and the adaptability of his compositions. Voice teachers can find various keys and arrangements

for the music of Purcell. The greatest gem hidden in his music is the storytelling. When one

listens to Purcell, every instrument plays equal importance in the overall telling of a story. He

was phenomenal at giving the instrumentation and the voice actions associated with the feelings

his music evokes.

The Sorceress Debate

When selecting a piece from the 17th century, it is important to know that music of the

Baroque is the center of numerous debates. Dido & Aeneas does not have an original cast list or

program available for musicologists to determine the original voices of the opera.4 Musicologists

know that Purcell wrote Dido & Aeneas for a performance at a girls’ boarding school.

There is evidence to support various speculations through understanding the habits of Henry

Purcell. One debate is that the Sorceress was originally played by a .5 Arguments have arisen

4 Elizabeth Holland, “Purcell and the Seventeenth-Century Voice: An Investigation of Singers and Voice Types in Henry Purcell's ” (PhD diss., The University of Sheffield, 2002), 141. 5 Elizabeth Holland, “Purcell and the Seventeenth-Century Voice: An Investigation of Singers and Voice Types in Henry Purcell's Vocal Music” (PhD diss., The University of Sheffield, 2002), 146. 4

to make this claim because of flaws with a realized score from 1841.6 Curtis Price and Irena

Cholij have made a well-supported case for a Mr. Wiltshire playing the Sorceress.7 This is

reinforced by Purcell’s habit to cast basses to portray otherworldly characters.8 These speculations could explain the fluidity in modern-day casting of the Sorceress. Theatres and opera houses across the world cast mezzo-sopranos, countertenors, or baritones as the Sorceress.

Modern scores and resources will list the role as “Sorceress/Sorcerer.”

“Our Next Motion”

Dido & Aeneas is an iconic opera that continues to charm audiences today. What makes it

so appealing is its brevity, though it is undeniably a full-scale opera with a healthy balance of

drama and comedy. Music students across the United States learn in music history and theory

classes Dido’s final aria, “When I am laid in earth,” also referred to as “Dido’s ,” as an

example of Purcell’s use of ground bass. However, students who are unfamiliar with this opera

could develop the false perception that Dido & Aeneas is strictly a drama and completely miss

the comic element in the roles of the Sorceress and her witches. When picking opera repertoire

for/as a countertenor, it can be challenging to find comedic selections. “Our Next Motion” can be

a good example of an aria that suits a countertenor with comedic inclinations. Attention must be

given towards the F5 and G5 in this piece. If a countertenor has underdeveloped high notes or

natural inclinations towards a lower resonance, the countertenor should look elsewhere. If a

countertenor has a performable F5 or has potential for solidifying those high notes, this is a good

piece to learn. “Our Next Motion” is essentially one page and is commonly performed andante

moderato. Because of the forward movement of this aria, the F5 and G5 are not sustained notes.

6 Curtis Price and Irena Cholij, “Dido’s Bass Sorceress,” The Musical Times 127, no. 1726 (1986): 615, accessed February 25, 2019. 7 Ibid., 615-618. 8 Elizabeth Holland, “Purcell and the Seventeenth-Century Voice: An Investigation of Singers and Voice Types in Henry Purcell's Vocal Music” (PhD diss., The University of Sheffield, 2002), 146. 5

The word “storm” starts on a D5 and implements turns in a dotted eighth-note to sixteenth-note pattern until an F5 is reached. This allows a teacher to work with a countertenor on the phrases leading up to the F5 with a consistent sound. The lone G5 is achieved by step motion from E5 and then immediately moves down to a C5.9 This piece is a great representative of Purcell’s style and allows for technique-building for a countertenor.

“Our Next Motion” has a declamatory vocal line and charged text that establishes the

Sorceress as the boss. It also reiterates the villainous nature of the Sorceress. It is interesting that the Sorceress sings about making Elissa (Dido) bleed and setting Carthage aflame, but the music is rather merry. Although someone could the Sorceress as a rigid and serious villain, the music of the Sorceress and her witches seems to warrant various dimensions to the characters.

Many performers today take a comedic approach to these characters and it is easy to understand why.

9 Edward Dent and Ellen Harris, eds., Dido & Aeneas: Vocal Score (Oxford: Oxford University Press, 1987), 66-67. 6

Study Sheet

Vocal Requirements: Piece: “Our Next Motion” A higher , a good understanding of Character: Sorceress/Sorcerer and their use in moving lines, a good Opera: Dido & Aeneas (before 1689) understanding of and their use in Composer: Henry Purcell (1659-1695) leaps. Librettist: Nahum Tate (1652-1715)

Extended Study: “What power art thou…” Range: [Also called: “Cold Genius aria”] (King Tessitura: Arthur); “One Charming Night” (The Fairy-

Queen) Language: English *These pieces are from his semi-operas Original Singer: Possibly Wiltshire (bass)

Character Type: villain, menacing, Book Recommendations: commonly performed comically Jonathan Keates, Purcell: A Biography

(Boston: Northeastern University Press, Character Synopsis: 1995). The Sorceress/Sorcerer seeks the destruction There is a section discussing the difficulty of of Carthage. She/he plots to send Aeneas this piece and the music of Henry elsewhere in the hopes that Dido will die Purcell in: from grief. The Sorceress/Sorcerer succeeds Elliott, Singing in Style: A Guide to in convincing Aeneas to leave. Aeneas Vocal Performance Practices (New Haven: comes back to Dido though, and she rejects Yale University Press, 2006). him. After turning Aeneas away, Dido dies. 7

CHAPTER III. “OMBRA MAI FU” BY GEORGE F. HANDEL

Introduction

One cannot discuss without drawing attention to .

His music has transcended time in the same way Greek mythology impacted of opera. Most people, regardless of their knowledge on music, are still familiar with the

“ chorus” from his . His operas are now commonly performed, and scores are readily available for most of them. Performing Handel is an inevitability for countertenors wanting to sing opera. Since there are no castrati to reprise these roles in Handel’s opere serie, countertenors, mezzo-sopranos, and even baritones are commonly assigned to these roles. The trend within the past few decades has been for countertenors to reprise the castrati leads. The issue countertenors face is finding the appropriate pieces in a sea of music. It is important to educate students that Handel wrote for different castrato voices, such as soprano castrati, castrati, and contralto castrati. Knowing which roles fall into which category can maximize the efficiency of repertoire selection.

The Popularity of “Ombra mai fu”

“Ombra mai fu” is possibly Handel’s most famous opera aria. It is so well-known that many singers choose it for performance in recitals. When discussing Handel, Carol Kimball writes, “Many of these arias have entered the recital repertory and the voice studio as staples of vocal literature apart from their operatic settings.”10 Along with its use in recitals, “Ombra mai fu” has achieved longevity as a popular instrumental piece titled “Handel’s Largo.”11 The adaptability of this aria is the main reason voice teachers choose to assign it to their students. Its use in recitals and instrumental performances has provided multiple transposed versions that

10 Carol Kimball, : A Guide to Style and Literature (Milwaukee: Hal Leonard, 2006), 418. 11 Donald Burrows, Handel (New York: Oxford University Press, 2012), 299. 8

allow a to fit this piece to the voice singing it. This adaptability is not commonly

present in opera repertory.

The Music

Despite its reference as “Handel’s Largo,” “Ombra mai fu” is marked larghetto.12 This aria, originally written in F major, opens the opera . Over the years it has been transposed and sung in higher and lower keys. This is not a aria, a type of aria that abounds in

Handel’s opere serie. It is also commonly performed with little to no ornamentation. This piece addresses some difficult concepts that can raise questions regarding assigning this piece to young or inexperienced singers.13 The problematic concepts are the sustained notes in the upper register

and wide leaps through a register shift. E5 is a challenging spot for a countertenor and, as

Raymond Chenez indicates, there is a clear register shift between C#5 and E5.14 A sustained C5

as the first note will most likely be difficult for a student who is not yet comfortable with the use

of . There are also leaps up to a major seventh that can be difficult for a student lacking in

vocal agility. However, I would claim that it is for this reason that this piece should be worked

on. Although training is required, leaps in the falsetto are not characteristically difficult for even

newer countertenors. It is when the leap goes through a register shift that can pose difficulty. The

various keys available for “Ombra mai fu” allow teachers to work on building vocal agility and

creating a clear, sustained sound.

This regal aria is known for its beauty. The strings observe a rest one beat after the voice

enters. This creates a commanding sense of calmness. With the strings playing the repetitive

quarter notes in ¾ and at the same time reflecting the vocal line, there is an emanating simplicity

12 G. F. Handel, Serse: Orchestrated Score (Ridgewood: Gregg Press, 1965), 6-7. 13 Joo-Yung Jung, “Young Singer and the Repertoire,” (D.M.A. diss., University of Washington, 2010), 24. 14 Raymond Chenez, “Vocal Registers of the Countertenor Voice: Based on Signals Recorded and Analyzed in Vocevista,” (D.M. diss., Florida State University, 2011), 26-27.

9

that exudes unity. Serse describes in the before “Ombra mai fu” how he wishes would disturb the peace of this tree. It is clear that Handel wanted to create a feeling of being

“one with nature.” This intimacy is overwhelmingly communicated to the listener and is a testament to the repeated performances of one of Handel’s most well-known arias.

10

Study Sheet opera displays a slew of characters who love

each other or want revenge for love that

Piece: “Ombra mai fu” could be lost. Serse mistakenly thinks he is

Character: Serse (King of Persia) marrying Romilda and discovers that she

Opera: Serse (Xerxes, 1738) married Arsemene. Serse wants to punish

Composer: George F. Handel (1685-1759) him but realizes his own faults in the

Librettist: Nicolò Minato (ca. 1620-1698) process. Serse then marries his original

betrothed, Amastre. The opera ends in

Range: celebration.

Tessitura:

Vocal Requirements:

Language: Italian This aria requires the singer to perform wide

Original Singer: Gaetano Majorano leaps and sustained notes. It is available in

“” (castrato) various keys.

Character Type: King, lover, betrayed

love, exhibits naivety and buffoonery at Extended Study:

times “Your Tuneful Voice” ()

“Stimulato dalla ” ()

Character Synopsis:

Serse is engaged to Princess Amastre. He Book Recommendation:

then falls in love with Romilda, who is Donald Burrows, Handel (New York:

already in love with Arsemene. Through a Oxford University Press, 2012).

series of disguises and manipulation, this 11

CHAPTER IV. “SULLA RUOTA DI FORTUNA” BY GEORGE F. HANDEL

Introduction

As stated in the previous section, performing the music of Handel is inevitable for countertenors. It can be difficult to find appropriate repertoire because there is so much of it.

When searching YouTube for “countertenors” and “Handel,” the opera that kept appearing on the search feed was . Rinaldo was Handel’s first opera.15 Its popularity today is

due to several factors. Rinaldo was performed in London by the Handel Opera Society in 1961. It

was also the first Handel opera performed at the in 1984.16 It also contains a

plethora of repertoire for countertenors. Rinaldo featured three alto castrati. During a revival in

1717, Handel made a few changes to the original version of Rinaldo including casting another

alto castrato as Argante. Changes were made again in a 1731 revival of the opera due to casting

choices.17 The numerous changes have created a fluidity in the voice types associated with the

characters of Rinaldo. This fluidity makes this opera particularly accessible to opera houses because they have legitimate options and casting choices that are not as prevalent in other operas by Handel.

“Sulla ruota di fortuna”

“Sulla ruota di fortuna” is a sung by Eustazio. This is a fantastic learning

piece for beginning to intermediate countertenors for multiple reasons. It is a short aria, there is minimal text, the range is small for a Handel aria, several musical phrases are repeated, there are interesting , there is only one extended run in the piece, and there are numerous easy

15 Donald Burrows, Handel (New York: Oxford University Press, 2012), 83. 16 Donal Henahan, “Opera: Premiere of Rinaldo at MET,” The New York Times, January 21, 1984, accessed: March 17, 2019, https://www.nytimes.com/1984/01/21/arts/opera-premiere-of-rinaldo-at-met.html. 17 , “Rinaldo,” Grove Music Online, accessed: March 17, 2019, http://www.oxfordmusiconline.com.ezproxy.bgsu.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/om o-9781561592630-e-5000004199.

12 opportunities for trills. “Sulla ruota di fortuna” contains dotted rhythms, triplets, and eighth-note passages.18 The interchanging of rhythmic ideas can help a countertenor build agility in the voice and build musicianship. The is simple in this aria. There are moments when the voice sings without accompaniment, leaving room for an educator to work on intonation. The smaller range and limited tessitura can turn the focus towards musical concepts and technique building.

“Sulla ruota di fortuna” is in F major with an allegro marking. It has a range of C4 to C5. This aria does contain leaps, but ultimately follows a contour that is ascending or descending. This movement reflects the wheel of fortune Eustazio is singing about.19

18 G. F. Handel, Rinaldo: Vocal Score (Kassel: Bärenreiter-Verlag, 1998), 25. 19 Kevin Mallon, Handel: Rinaldo, NAXOS, 8.660165-67, 2004, compact disc.

13

Study Sheet acts as the voice of reason to a certain

extent. He successfully predicts the

Piece: “Sulla ruota di fortuna” fearfulness exhibited by Argante and

Character: Eustazio attempts to prevent Rinaldo from being

Opera: Rinaldo (1711) tricked. He gains a magic wand from the

Composer: George F. Handel (1685-1759) sorcerer and eventually apprehends the

Librettist: sorceress, , who is successfully

converted to Christianity at the end of the

Range: opera.

Vocal Requirements:

Tessitura: This aria requires the singer to perform with

rhythmic accuracy and good intonation.

Language: Italian “Sulla ruota di fortuna” is a great aria to

Original Singer: Valentino Urbani work on trills, runs, and legato phrasing.

“Valentini” (alto castrato) Teachers will also need to address

appropriate ornamentation in the repeated A

Character Type: Hero, warrior, brother, section of this da capo aria.

Christian Extended Study:

Character Synopsis: “Prest omai l’Egizia terra” ()

This opera takes place during the first “Già lo stringo” (Orlando)

crusade. Eustazio is the brother of Goffredo, Book Recommendation:

leader of the Christian forces. He is a hero Donald Burrows, Handel (New York:

alongside Rinaldo and Goffredo. Eustazio Oxford University Press, 2012). 14

CHAPTER V. “QUAL SERPE TORTUOSA” BY ANTONIO VIVALDI

Introduction

When discussing operas of the Baroque, it is imperative that Antonio Vivaldi be included

in the conversation. His operatic repertoire has had a revival in recent years. Singers like Cecilia

Bartoli and have recorded studio albums of Vivaldi’s opera arias. New

research within the past few decades has shed light on missing information regarding his operas.

The main reason Vivaldi is not performed as often as Handel is because his operas are not as

accessible. Not only are portions missing from some of his surviving operas, but he would also

interchange arias and insert the arias of other composers into his works.20 Vivaldi’s arias are also known to be challenging. While Handel has a wide range of arias with various levels of

difficulty, Vivaldi’s arias can often feel set at only one level of difficulty. Like Handel, Vivaldi

wrote primarily da capo arias. His opera does contain a couple of arias that are

feasible for an intermediate countertenor to learn.

“Qual serpe tortuosa”

It is important for a teacher to discuss the perpetuated perception of performing Vivaldi

in an opera audition. Looking at “Qual serpe tortuosa” does not make a student a Vivaldi singer.

A student will need experience and vocal maturity to exhibit the vocal agility demanded by

Vivaldi’s arias. As long as a teacher has that discussion with their student, this piece can be a

good introduction into the world of Antonio Vivaldi. La fida ninfa utilized two castrati. The

soprano castrato, Giuseppe Valentini, sang the role of Morasto. The alto castrato, Stefano Pasi,

20 Michael Talbot, “Vivaldi, Antonio,” Grove Music Online, accessed: March 17, 2019, http://www.oxfordmusiconline.com.ezproxy.bgsu.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/om o-9781561592630-e-0000040120.

15 sang the role of Osmino.21 In the world of Handel and Vivaldi, it is rare to find arias originally performed by soprano castrati that would be used by countertenors. The exceptions to this rule are advanced countertenors who have extended their performable ranges, or authentic male sopranos. It is better to look at the repertoire of alto castrati and contralto castrati for newer or younger countertenors. Osmino sings a couple of arias that would be appropriate for an intermediate countertenor.

“Qual serpe tortuosa” is marked allegro molto. It is a da capo aria. Despite the quick tempo, the should not be difficult for the singer because the vocal line consists of mostly quarter notes, eighth notes that move in step motion to an ascending or descending quarter note, and half notes. There are leaps in this piece up to an octave that could prove somewhat challenging. The range is C#4 to D5. Despite the leaps, the vocal line generally follows an ascending or descending contour that helps ease the difficulty level. The singer is also aided by the pitches of the bass line throughout the aria.22 This would be an interesting piece for teachers to work on ornamentation with a student. On the repeat of the A (da capo) section it would be easy to write in eighth-notes to fill in the leaps without compromising the contour of the vocal line. There are also numerous opportunities for and trills throughout the aria.

Osmino is singing this aria about the bonds of love and using the analogy of a snake squeezing tight. The runs and leaps of this aria reflect the winding of this snake. The tone of this piece needs to be light and energized.

21 Antonio Vivaldi, La fida ninfa: Vocal Score, Edited by Marco Bizzarini, Borin, Antonio Frigé, and Michael Talbot (Milano: Casa Ricordi, 2013), xxxiv. 22 Ibid., 101-105. 16

Study Sheet

retold on the stage, according to the finale.

Piece: “Qual serpe tortuosa” “Qual serpe tortuosa” is at a point in the

Character: Osmino opera where Osmino is describing to

Opera: La fida ninfa (The Faithful Nymph, Morasto his love with Licori. This is a love

1732) triangle moment because Morasto was

Composer: Antonio Vivaldi (1678-1741) recently rejected by Licori when Osmino

Librettist: Maffei (1675-1755) starts this aria.

Range: Vocal Requirements:

This aria requires the singer to perform wide

Tessitura: leaps. The vocal line needs legato phrasing

and lightness. The singer will have to

Language: Italian implement proper ornamentation practice

Original Singer: Stefano Pasi (alto castrato) with the repeated A section.

Character Type: Shepherd, blinded by

love, naïve, can be cowardly Extended Study:

“Ah, che non posso…” (La fida ninfa)

Character Synopsis:

Osmino is a shepherd who is in love with Book Recommendation:

Licori. Through a confusing plot of being Michael Talbot, Vivaldi (New York: Oxford

mistaken for someone else and manipulated University Press, 2000).

by Licori, his adventures will someday be 17

CHAPTER VI. “J’AI PERDU MON EURYDICE” BY CHRISTOPH W. GLUCK

Introduction

Christoph W. Gluck was the pioneer of opera reform.23 His criticism of Handel brought

about a change in the way he composed operas. With ed , Gluck sought to

simplify the unnecessary complexities of opera seria. This meant eliminating da capo arias,

keeping operas at a concise length, and placing emphasis on drama.

The tale of had been used in opera by numerous composers. It was a familiar

myth and the plot was easily adaptable. Gluck premiered in a translated

version, Orphée et Eurydice, in France. This revival in in 1774 brought several changes,

including in the casting of Orfeo, originally played by an alto castrato. When discussing modern

casting of castrati roles to students, it is important to explain that the French disliked the castrato

voice. It can be difficult for a countertenor to find French operatic repertoire because the French

created their own , the haute-contre, in response to the popularity of the castrati. It was

presumed for a long time that the haute-contre was the equivalent of the countertenor. However,

evidence within the past few decades has indicated that the haute-contre was a high with a

different sound quality than the modern countertenor. The role of Orphée was thus played by an

haute-contre in the Parisian premiere. Today, it is common for a mezzo-soprano or countertenor

to be cast in both the Italian and French versions.

“J’ai perdu mon Eurydice”

This aria can be sung in Italian and French. However, the French version has a different

ending to the aria than the original Italian, “Che farò senza Euridice.”24 This aria is a popular

audition piece for countertenors because French repertoire is so controversial. It is uncommon

23 J. Merrill Knapp, The Magic of Opera (New York: Da Capo Press, 1972), 137. 24 Christoph Gluck, Orfeo ed Euridice: Vocal Score (Vienna version of 1762) (Kassel: Bärenreiter-Verlag, 1962), 128-131 18

for countertenors to reprise haute-contre roles because some singers in France still market

themselves as haute-contres. Orphée et Eurydice is an exception because of modern-day casting

trends. Both the Italian and French versions of this opera are performed by countertenors which

provides validation for countertenors using “J’ai perdu mon Eurydice” in an audition setting.25 It

is intermediate to advanced in difficulty. The phrasing can be a challenge with the dynamics

provided on the score. A countertenor will need a stable and supported upper register to sing this

piece. The ending requires multiple F5s with little breathing room. If the ending is too difficult, it

may be worth looking at the Italian version because it ends on a descending vocal line. “J’ai

perdu mon Eurydice” is the standard lament in every opera that follows Orpheus losing

Eurydice. Gluck takes this lament to a higher standard with his musical imagery. His use of the

name “Eurydice” is sung as if Orphée is shaking her. The repeated ascending phrases give the

impression of panic. A countertenor will have to spend a lot of time on the legato phrasing

required of the vocal line and text.

25 Christoph Gluck, Orphée et Eurydice: Vocal Score (Paris version of 1774) (Kassel: Bärenreiter-Verlag, 1967), 130-133 19

Study Sheet

manages to get Eurydice and starts exiting

Piece: “J’ai perdu mon Eurydice” the underworld. Orphée is unable to speak to

Character: Orphée Eurydice and she is filled with doubt

Opera: Orphée et Eurydice (Orpheus and regarding his love for her. She stops walking

Euridice, 1774) and Orphée turns around. When Orphée

Composer: Christoph W. Gluck (1714- turns around, she dies once more. This aria

1787) follows her second death.

Librettist: Pierre Louis Moline (1740-1821) Vocal Requirements:

This piece requires a stable and supported

Range: upper register. The singer will need legato

Tessitura: phrasing to get through some challenging

Language: French phrases.

Original Singer: (alto Extended Study: castrato) [Vienna, 1762, in Italian]; Joseph “Recagli quell’acciaro” (/Vienna

Legros (haute-contre) [Paris, 1774, in version)

French] “Se il fumine sospendi” (Ezio/Vienna

Character Type: Beautiful mythical singer, version)

young, grieving lover, brave in the face of *Gluck revived Ezio and made changes from

danger its original version. The score used for

Character Synopsis: research was the vocal score of the Vienna

Orphée goes into the underworld to recover version.

the love that was taken from him. He 20

CHAPTER VII. “QUALCHE VOLTA NON FA MALE” BY

Introduction

Joseph Haydn is an underrated composer when it comes to vocal music. Although he was innovator in the realm of instrumental music, his art song and operatic repertoire seem to be overlooked by modern audiences. Haydn’s opera is fine example of as established by the librettist, . It is a phenomenal work for countertenors with comedic inclinations to explore. It is also performed as a German , which could give a countertenor the opportunity to sing an aria in German.

“Qualche volta non fa male”

The role of Ernesto was originally sung by alto castrato Pietro Gherardi. Ernesto is an interesting character because his music had been transposed multiple times in the eighteenth century to accommodate for casting changes.26 “Qualche volta non fa male” is a difficult aria for a countertenor without a stable and supported upper register.27 It is a longer aria with a range of

D4 to F5. The musical phrases move primarily in steps without excessive leaps. The tempo marking is Allegretto, and Haydn repeats musical phrases within this aria. This would be a good stamina-building aria for a countertenor who is inexperienced with longer arias. There is room for playfulness in this aria for a countertenor who likes comedy. In general, countertenors would benefit from exploring Haydn’s Il mondo della luna.

26 Joseph Haydn, Il mondo della luna: Vocal Score (Kassel: Bärenreiter-Verlag, 1983), iii-iv. 27 Ibid., 246-254. 21

Study Sheet

Character Synopsis:

Piece: “Qualche volta non fa male” Ernesto is in love with Flamina. Together,

Character: Ernesto with Ecclitico and Cecco, they trick

Opera: Il mondo della luna (The World on Flamina’s overprotective father to allow his

the Moon, 1777) daughters to marry whom they want. They

Composer: Joseph Haydn (1732-1809) achieve this by making Buonafede believe

Librettist: Adapted from Carlo Goldoni he is on the moon. Ernesto sings this aria

(1707-1793) while dressed up as a star and attempting to

show Buonafede the error of his ways.

Range:

Tessitura: Vocal Requirements:

This aria demands a stable and supported

Language: Italian (can be sung in German) upper register. This is a longer piece that

Original Singer: Pietro Gherardi (alto will require stamina. castrato)

Extended Study:

Character Type: Cavalier, lover, trickster, “Begli occhi vezzosi” (Il mondo della luna)

disguised as a star *can be sung in German

“Amore nel mio petto” ()

*pants role

22

CHAPTER VIII. “AL MIO BEN MI VEGGIO AVANTI” BY WOLFGANG A. MOZART

Introduction

Somewhere along a singer’s vocal development, Wolfgang Mozart will appear

as the destination of repertoire selection. His music is a necessity to the study of singing.

Countertenors should not be an exception to this standard. Mozart did write several opere serie

that feature castrati. However, he viewed the acting abilities of the castrati to be problematic.28

Ascanio in Alba, which Mozart wrote when he was 15, was commissioned for the festivities of a royal wedding. commented that the plot of in Alba was similar to the story of Archduke Ferdinand and Maria Ricciarda d’Este getting married.29

“Al mio ben mi veggio avanti”

Ascanio in Alba tells the story of a couple arranged to be married that has never met.

Ascanio sings “Al mio ben mi veggio avanti” after viewing his love, Sylvia, lying distraught in

the arms of nymphs.30 He wants to conceal himself to give her peace of mind. The range is B4 to

D#5. The piece switches from adagio to allegro. The varied tempo and different melodic themes

of this aria would be a healthy challenge for an intermediate countertenor. Mozart had a very

distinct way of writing. This aria would be a great introduction to opera repertoire for

countertenors.

28 John Jenkins, “Mozart and the Castrati,” The Musical Times 151, no. 1913 (2010); 55-68, http://www.jstor.org.ezproxy.bgsu.edu/stable/25759517 (accessed March 19, 2019). 29 Wolfgang A. Mozart, Ascanio in Alba: Vocal Score (Kassel: Bärenreiter-Verlag, 2003), ix. 30 Ibid., 269-277. 23

Study Sheet

never met her. Venus makes Ascanio agree

Piece: “Al mio ben mi veggio avanti” to withhold his identity from Sylvia until he

Character: Ascanio can understand her virtue. Venus has been

Opera: Ascanio in Alba (1771) imprinting the image of Ascanio in the

Composer: dreams of Sylvia for years. This causes

(1756-1791) confusion when Ascanio appears before

Librettist: Giuseppe Parini (1729-1799) Sylvia but cannot disclose his identity.

Ascanio sings this aria after witnessing Range: Sylvia being distraught in the arms of

nymphs. He expresses the desire to conceal Tessitura: himself to rid her of her woes.

Language: Italian Vocal Requirements: Original Singer: Giovanni Manzuoli (alto This aria demands stable breath and register castrato) shifts. Legato phrasing and lightness are *Mozart’s former singing instructor required to bring out the text and rests Character Type: , lover, son of between musical phrases. Venus

Extended Study: Character Synopsis: “Torna mio bene, ascolta” (Ascanio in Alba) Ascanio is expected to marry and succeed “Dolce d’amor compagna” (La finta the throne by the command of Venus. He is giardiniera) aware that he is to marry Sylvia but has 24

CHAPTER IX. “VA, L’ERROR MIO PALESA” BY WOLFGANG A. MOZART

Introduction

Mitridate, rè di Ponto is an under-performed early opera seria by Wolfgang Amadeus

Mozart. Mozart composed this opera while in when he was only fourteen. It is important to

discuss Mitridate, rè di Ponto because it was one of the few opere serie by Mozart that featured

three castrati in leading roles (two soprano and one alto). This opera contains an enormous

amount of repertoire for countertenors and male sopranos. It is important to note that Mozart

wrote difficult music for his soprano castrati. The role of Sifare requires the consistent

performance of Bb4 to Bb6. This is common for Mozart across multiple operas with the

exception of several of ’s arias in Idomeneo. It is crucial for teachers to expose

countertenor students to the potential operatic repertoire of Mozart because it does exist outside

of the pants roles. The standard repertoire books of every voice type contain one, if not more,

arias by Mozart. One simply has to intellectually sift through his opere serie to find appropriate

pieces for countertenors.

“Va, l’error mio palesa”

Farnace can pose a challenge for countertenors that do not have a resonant lower register.

“Va, l’error mio palesa” does a great job of showcasing the various registers of the voice. This is a da capo aria. The range is A4 to E5. The Bärenreiter vocal score for Mitridate, rè di Ponto lists

optional notes at the end of the aria to allow the singer to choose which part of their voice to

showcase.31 Mozart has a distinct compositional style that is prevalent in this aria. His trademark

and wide leaps to end short vocal phrases is reminiscent of Handel’s unique

compositional style. Despite his unique writing, he does adhere to the conventional da capo aria

format in this opera. The role of should be reserved for an intermediate to advanced

31 Wolfgang A. Mozart, Mitridate, rè di Ponto (Kassel: Bärenreiter-Verlag, 2001), 156. 25 countertenor. However, exposing a beginning countertenor to this aria could provide a tangible goal to work towards. Mozart had a brilliant way of exploring various parts of the voice in the same aria while also illustrating the character’s dramatic situation.

26

Study Sheet

Ismene. Farnace is freed during the midst of

Piece: “Va, l’error mio palesa” battle and goes to support Mitridate. When

Character: Farnace the battle concludes, Farnace is forgiven by

Opera: Mitridate, rè di Ponto (Mithridates, Mitridate and marries Ismene.

King of Pontus, 1770) Vocal Requirements:

Composer: Wolfgang Amadeus Mozart This aria demands the stable use of low to

(1756-1791) high vocal registers. Ornamentation can be

Librettist: Vittorio Amedeo Cigna-Santi implemented in the repeated “A” section.

(1728-1799) This is a good opportunity to discuss the

Range: difference in ornamenting Handel arias and

Language: Italian Mozart arias.

Original Singer: Giuseppe Cicognani (alto Extended Study:

castrato) “Il padre adorato” (Idomeneo)

Character Type: Prince, son of Mitridate, *This role goes to G5, not Bb6 like Mozart

viewed as spoiled, in love with Aspasia who usually wrote for his soprano castrato arias.

is betrothed to his father “Va pure ad alrtri in braccio” (La finta

Character Synopsis: giardiniera)

Farnace is in a love rectangle between his Book Recommendation:

brother, Sifare, and his father, Mitridate. All Louis Biancolli, The Mozart Handbook

three of them are in love with Aspasia. (New York: Grosset & Dunlap, 1962).

Aspasia only reciprocates love to Sifare. J. D. McClatchy, Seven Mozart

Mitridate imprisons Farnace after he scorns (New York: W. W. Norton 2011). 27

CHAPTER X. “FLOWER OF THIS PURPLE DYE” BY BENJAMIN BRITTEN

Introduction

A Midsummer Night’s Dream by Benjamin Britten is an opera most countertenors dream

of performing since the male lead, , was written for the countertenor voice. The original

Oberon in this opera was Deller, the singer who was responsible for the countertenor revival in the twentieth century. He was a pioneer in the historically informed performance practice of Baroque music. Britten wrote countertenor roles in A Midsummer Night’s Dream and

Death in Venice. He also collaborated with to compose realizations of Henry

Purcell’s vocal music. Britten had a special way of writing vocal music because of his

understanding of the voice. He was very knowledgeable on different voice types. This sensitivity

and security of knowing what the voice is capable of performing is accentuated in his music.

Britten was also brilliant at making heavily chromatic music sound tonal. A Midsummer Night’s

Dream contains gorgeous music that a countertenor should definitely explore.

“Flower of this Purple Dye”

The role of Oberon is difficult because he sings heavily chromatic phrases that require

diligent detail to intonation. The positive aspect regarding this chromaticism is that part of

Oberon’s vocal line is quoted throughout the opera. “Welcome wanderer…,” also referred to as

“I know a bank,” is the most popular audition aria for countertenors. However, “Welcome

wanderer…” is long, heavily chromatic, requires a countertenor to sing an unaccompanied G3,

and contains several quick phrases that require vocal agility. “Flower of this Purple Dye” is a

short aria that quotes part of the same vocal line Oberon sings in “Welcome wanderer…” It

would give a beginning to intermediate countertenor a great taste of this role.32 The range is Eb4

32 Benjamin Britten, A Midsummer Night’s Dream: Vocal Score (London: Hawkes & Son, 1960), 161-162. 28 to Db5. This piece demands clear intonation and legato phrasing. work will be a huge part of overcoming these challenges.

Britten does an excellent job of making Oberon sound other-worldly. The haunting creates an ambiance that is authoritative and hypnotizing. 29

Study Sheet

to trick her by using a flower that makes the

Piece: “Flower of this Purple Dye” recipient fall in love with the first creature

Character: Oberon their eyes see. He orders Puck to use the

Opera: A Midsummer Night’s Dream flower on a group of humans that causes a

(1960) confusion of love interests.

Composer: Benjamin Britten (1913-1976) Vocal Requirements:

Librettist: Adapted from William This piece requires great intonation to sing

Shakespeare by Benjamin Britten and Peter the plethora of chromatics and smooth

Pears (1910-1986). legato phrasing.

Range: Extended Study:

Tessitura: “Welcome wanderer…” (A Midsummer

Language: English Night’s Dream)

Original Singer: *“Welcome wanderer…” (also called “I

*Deller was a pioneer of the resurgence of know a bank”) is a very popular audition

the countertenor voice in the twentieth piece for countertenors. It is much more

century. It is imperative that countertenors challenging than “Flower of this purple

study him. dye.”

Character Type: King of Fairies, trickster,

authoritative, bitter husband of Titania *This opera by Benjamin Britten does not

Character Synopsis: feature any extractable arias for

Oberon argues with Titania about whether to countertenor.

make a boy a servant or a knight. He strives 30

CHAPTER XI. HONORABLE MENTIONS

Introduction

Selecting modern opera repertoire proved to be challenging for various reasons. The

composers discussed in this chapter wrote operas that do not have extractable arias, do not have

vocal scores readily available yet, or require sensitivity in the character portrayal. The composers

selected include , , Zhou Long, Phillip Glass, Jonathan

Dove, Weir, and James Garner.

Hans Werner Henze (1926-2012)

The countertenor role of in Henze’s opera (2007) is difficult. Although

it is not an aria, an advanced countertenor could look at the selection “Ich will dich in einer

Höhle verstecken” from act 2, scene 2.33 This is a good selection because Henze provides

optional notes to accommodate for the difficulty. This selection is short, heavily chromatic, and

has a clear beginning and end. Selections for countertenors in German are extremely rare

because castrati were primarily associated with opere serie that were fashionable in Italy and

England. More recent German operas featuring countertenors do not have accessible scores yet.

With modern operas moving away from the recitative and aria format, it should not be

unreasonable to pull selections from these operas and use them. There are more solo selections in

Phaedra, however, that do not contain optional notes. One of these selections switches clefs

without any markings of register changes or character changes. Henze wrote another role for

countertenor in L’Upupa (2003).34 However, the role of Aschib only sings duets with other characters.

33 Hans Werner Henze, Phaedra: Vocal Score (London: Chester Music, 2005), 139-141. 34 Hans Werner Henze, L’Upupa und der Triumph der Sohnesliebe: Vocal Score (London: Chester Music, 2004). 31

Peter Maxwell Davies (1934-2016)

Peter Maxwell Davies is similar to Henze in the way that he wrote multiple roles for countertenors without adhering to the recitative and aria format. His opera (1972) tackles how easily people can be manipulated through organized religion. Taverner details the life of John Taverner during the Reformation. Davies wrote the role of the priest-confessor for a

countertenor. The countertenor sings off-stage in Act 1, scene 4 as God the father. Any selection from this opera would be challenging and should be used by an advanced countertenor. The

“God the father selection” is really short and a good selection to pull.35 It requires singing

repeated notes on an ascending line that could showcase the countertenor’s vocal ability.

There are no long solo selections that could be extracted for a countertenor. Davies did write

longer solos in his opera, (1988).36 He wrote specific instructions regarding how to perform the Zeus/Hera solos that make it unusable in a recital or audition setting. The Mama selections are worth looking at. However, the vocal score is not readily available yet. The orchestral score is available through libraries.

Zhou Long (b. 1953)

Madame White Snake (2010) is a very interesting opera with a huge male soprano role.

Although there are long selections that could be excerpted, they are not technically arias. The

role of Xiao Ching is meant for a countertenor with an established upper register or a male

soprano. The male soprano would be expected to sing F5, F#5, and G5 consistently. The

“prologue” and “epilogue” of Madame White Snake feature Xiao Ching singing a solo over a

chorus. In the vocal score, the chorus parts are contained within the accompaniment. This

means that it would not be unheard of to sing it as a solo. The problem is that the prologue is 31

35 Peter Maxwell Davies, Taverner: Vocal Score (London: Boosey & Hawkes, 1972), 140-141. 36 Peter Maxwell Davies, Resurrection (London: Chester Music, 1994). 32 pages of solo singing. The easiest selection that could be pulled for a countertenor is “O Spring

Rain”37—it is short and does not go higher than a D#5.

Phillip Glass (b. 1937)

Phillip Glass is an inescapable name when it comes to modern composers. Although his opera Einstein on the Beach (1976) gets the most attention, he wrote two other biographical operas, (1980) and (1983). Akhnaten38 is the last of his biographical operas of historical figures. It features a countertenor as the starring role of Akhnaten. This is a huge role for a countertenor, and it requires a significant amount of research. Akhnaten tells the story of the Egyptian pharaoh who wanted to establish monotheism. During the time this opera was composed, researchers had speculated that Akhenaten was a hermaphrodite, a person with both sex organs. This notion has since been refuted through further analysis on the art created during the time of Akhenaten.39 In Glass’s opera, the countertenor displays both sex organs by wearing a bodysuit or through the use of makeup. The audience sees both sex organs when Akhnaten changes clothes on stage. The music in this opera is primarily sung in Egyptian, Akkadian, or

Biblical Hebrew. Akhnaten does sing a long piece, “ to the Sun,” in the language of the audience. 40 It is important that a teacher looking at this opera for their countertenor student have a conversation about acting as Akhnaten in a sensitive and informed way. If the student is educated and willing to perform Akhnaten, then there is a significant amount of good music to pull. A vocal score of the opera is readily available.

37 Zhou Long, Madame White Snake: Vocal Score (Oxford: Oxford University Press, 2010), 47-49. 38 Phillip Glass, Akhnaten: Vocal Score (New York: Dunvagen Music Publishers, 1983). 39 Peter F. Dorman, "Akhenaten," Encyclopædia Britannica, https://www.britannica.com/biography/Akhenaten. (accessed April 03, 2019). 40 Phillip Glass, Akhnaten: Vocal Score (New York: Dunvagen Music Publishers, 1983), 195-212. 33

Jonathan Dove (b. 1959)

It is important to expose a countertenor to (1998) by Jonathan Dove. “Dawn, Still

Darkness,” also known as “the Refugee’s aria,” is a popular audition piece for countertenors. 41

Wolf Trap Opera listed “Dawn, Still Darkness” as the most used piece for countertenors in their

2019 audition list.42 The aria’s varying and moods allow a countertenor to showcase various parts of the voice. The range is B4-E5 and the singer is expected to explore that range to the fullest extent. It is a difficult and long piece. There are sections where there are back to back wide leaps and some demanding repeated step-wise motions to E5. If these challenges can be overcome by the countertenor, this is an excellent piece from this opera.

Judith Weir (b. 1954)

A Night at the Chinese Opera (1987) is a not-so-well-known opera by Judith Weir that was commissioned by the BBC for .43 It features a countertenor as the role of the

Military Governor. There is one aria called “The Military Governor’s Aria”44 that a countertenor could sing from this opera. However, it requires a stable and resonant low register. This is a long aria and would require stamina from the singer. The tessitura is set to the low to medium registers. The singer will have to sing G3, A4, and A#4 consistently throughout this aria. Not many countertenors perform this aria, although a vocal score is available. If a countertenor has the low resonance required, this piece would showcase it well. Weir also wrote a children’s opera called The Black Spider (1985). Although it does not include a countertenor, Weir wrote

41 Jonathan Dove, Flight: Vocal Score (London: Peters Edition, 1999), 337-344. 42 Wolf Trap Opera, “Countertenor Aria Frequency List,” opera.wolftrap.org, https://opera.wolftrap.org/wp- content/uploads/2015/02/Countertenor-Arias-Submitted-2019-FA-and-SA.pdf (accessed March 19, 2019). 43 Judith Weir, A Night at the Chinese Opera: Vocal Score (London: Novello & Company, 1987), i. 44 Ibid., 41-51. 34 that any of the roles could be sung at any convenient octave.45 A countertenor seeking twentieth- century repertoire could possibly find something in The Black Spider.

James Garner (b. 1992)

I had the pleasure of communicating directly via e-mail with opera composer James

Garner. He is a young British composer who has written operas featuring countertenors. His opera East o’ the Sun, West o’ the Moon (2014) features the comedic role of the Troll

Princess. The role of the Troll Princess was strongly influenced by the British tradition. Countertenors who have comedic inclinations should contact him for this wonderful music. The Troll Princess sings an aria called “Birds on the Misty Mountainside Sing.”46 The range is Ab4 to Eb5 and requires a full switch to for the Ab4. Although a vocal score exists, it is currently not available for public distribution. Garner is currently working on a new opera called Much Ado, based on the play by William Shakespeare. It features two countertenor roles, the Friar and a musician named Balthasar. Garner says the premiere of Much

Ado will take place in the 2020/21 season in Montréal. Countertenors should keep track of opera repertoire to come and be made public by James Garner.

45 Judith Weir, The Black Spider: Vocal Score (London: Novello & Company, 1989). 46 James Garner, “Birds on the Misty Mountainside Sing,” from East o’ the Sun, West o’ the Moon: Vocal Score, 43- 45 (aria score obtained via personal communication with composer in March 2019). 35

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