Gaetano Donizetti, Saverio Mercadante, and the Evolution and Development of the Verdi Baritone Item Type text; Electronic Dissertation Authors Krueger, Nathan Elliott Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 15:37:34 Link to Item http://hdl.handle.net/10150/203444 GAETANO DONIZETTI , SAVERIO MERCADANTE, AND THE EVOLUTION AND DEVELOPMENT OF THE VERDI BARITONE by Nathan Elliott Krueger ________________ Copyright © Nathan Elliott Krueger 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Nathan Elliott Krueger entitled Gaetano Donizetti, Saverio Mercadante, and the Evolution and Development of the Verdi Baritone and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _________________________________________________________Date: 10/31/2011 Charles Roe _________________________________________________________Date: 10/312011 Grayson Hirst _________________________________________________________Date: 10/31/2011 Kristin Dauphinais Final approval and acceptance of this document is contingent upon the candidate's submissions of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. _________________________________________________________Date: 10/31/2011 Document Director: Charles Roe 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is make. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Nathan Elliott Krueger 4 ACKNOWLEDGMENTS I would like to thank the following people without whose help this document would not have been possible. Professor Charles Roe has been a inspiration both in the studio and during the discovery and development of this topic. His patience, persistence and guidance have been invaluable. Dr. Kristin Dauphinais patiently advised me throughout my work, especially assisting me with writing style. Professor Grayson Hirst was always available to discuss the direction of my research and offer support during the process. The University of Arizona Fine Arts Library and the University of Arizona Interlibrary Loan department assisted me in acquiring all of the necessary materials and sources. George Durnell’s careful attention to detail was greatly appreciated during the final editing. Finally, I am deeply grateful to my friends and family, who supported me along the way. 5 DEDICATION This document is dedicated in loving memory to my mother, Linda Jean Krueger. 6 TABLE OF CONTENTS LIST OF TABLES...............................................................................................................9 ABSTRACT.......................................................................................................................11 INTRODUCTION.............................................................................................................12 CHAPTER I: HISTORY OF THE BARITONE VOICE TYPE........................................15 CHAPTER II: DEFINITIONS OF THE LOW-MALE VOICE TYPES...........................19 CHAPTER III: TERMINOLOGY.....................................................................................23 Tessitura........................................................................................................................23 The Verdi Baritone........................................................................................................26 CHAPTER IV: HISTORICAL CONTEXT.......................................................................29 Origins...........................................................................................................................29 Pre-Verdi Baritones.......................................................................................................32 Transitional Baritones...................................................................................................37 Established Verdi Baritones..........................................................................................45 Roles Performed and Comparison................................................................................47 CHAPTER V: CIRCUMSTANCES..................................................................................54 Pitch Level....................................................................................................................54 Historical Singing Style................................................................................................57 Orchestra Size...............................................................................................................58 CHAPTER VI: THE VERDI BARITONE - EVIDENCE OF ITS DEVELOPMENTS...60 Nabucco........................................................................................................................60 Vocal and Characterization Demands: Act I............................................................60 7 TABLE OF CONTENTS – Continued Vocal and Characterization Demands: Act II...........................................................62 Vocal and Characterization Demands: Act III.........................................................64 Vocal and Characterization Demands: Act IV.........................................................66 Overall Tessitura Summary......................................................................................70 Evidence of Changes in Demands on the Baritone Voice.............................................72 Torquato Tasso.........................................................................................................72 Vocal and Characterization Demands: Act I.......................................................73 Vocal and Characterization Demands: Act II......................................................77 Vocal and Characterization Demands: Act III....................................................78 Overall Tessitura Summary.................................................................................83 Donizetti's Writing as an Antecedent to the Verdi Baritone...............................84 Il giuramento: Menfredo..........................................................................................86 Vocal and Characterization Demands: Act I.......................................................87 Vocal and Characterization Demands: Act II......................................................92 Overall Tessitura Summary.................................................................................96 Mercadante's Writing as an Antecedent to the Verdi Baritone...........................97 Role Comparisons.........................................................................................................98 CONCLUSION................................................................................................................101 APPENDIX A: ORAZIO CARTAGENOVA PERFORMANCE HISTORY..................102 APPENDIX B: ANTONIO TAMBURINI PERFORMANCE HISTORY......................104 APPENDIX C: DOMENICO COSSELLI PERFORMANCE HISTORY......................107 8 TABLE OF CONTENTS – Continued APPENDIX D: PAULO BARROILHET PERFORMANCE HISTORY........................109 APPENDIX E: GIORGIO RONCONI PERFORMANCE HISTORY............................111 APPENDIX F: CESARE BADIALI PERFORMANCE HISTORY...............................120 APPENDIX G: FILIPPO COLETTI PERFORMANCE HISTORY...............................122 APPENDIX H: FILIPPO COLINI PERFORMANCE HISTORY..................................126 APPENDIX I: FELICE VERESI PERFORMANCE HISTORY....................................127 APPENDIX J: ACHILLE DEBASSINI PERFORMANCE HISTORY.........................129 APPENDIX K: NABUCCO MUSIC EXAMPLES.........................................................131 APPENDIX L: TORQUATO TASSO MUSICAL EXAMPLES......................................139 APPENDIX M: IL GIURAMENTO MUSICAL EXAMPLES........................................145 REFERENCES................................................................................................................149 9 LIST OF TABLES Table 1: Rodolfo Celletti's Types of Verdi Baritones.........................................................21 Table 2: Baritone Fächer....................................................................................................22 Table 3: La Favorite by Gaetano Donizetti, “Léonore, viens” Aria excerpt.....................26 Table 4: Baritones identified as integral to the development of the Verdi baritone...........30