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baritenor
Baritenor (also rendered in English language sources as bari-tenor〔e.g. Deer and Dal Vera (2008) p. 356; Boytim (2002) p. 45〕 or baritenore〔e.g. Hubbard (1910) p. 58; Kaufman (1998); Turp (2000)〕) is a portmanteau (blend) of the words "baritone" and "tenor".〔Thurner (1993) p. 12〕 It is used to describe both baritone and tenor voices. In ''Webster's Third New International Dictionary'' it is defined as "a baritone singing voice with virtually a tenor range".〔''Webster's Dictionary'' (1961), Vol. 1, p. 176〕 However, the term was defined in several late 19th century and early 20th century music dictionaries, such as ''The American History and Encyclopedia of Music'', as "a low tenor voice, almost barytone" (HREF="http://www.kotoba.ne.jp/word/11/sic" TITLE="sic">sic'' ).〔Hubbard (1910) p. 58. See also: Elson (1905) p. 30; Ludden (1875) p. 27; Schuberth (1880) p. 33〕
==In opera==
Baritenor (or its Italian form, ''baritenore'') is still used today to describe a type of tenor voice which came to particular prominence in Rossini's operas.〔e.g. Celletti (1996) p. 163; Turp (2000)〕 It is characterized by a dark, weighty lower octave and a ringing upper one but with sufficient agility for coloratura singing.〔Milnes (1992) p. 1095〕 Rossini used this type of voice to portray noble (and usually older), leading characters, often in contrast to the higher, lighter voices of the tenore di grazia or the tenore contraltino who portrayed the young, impetuous lovers.〔Badenes (2005) p. 28; Teatro La Fenice (2005) p. 122〕 An example of this contrast can be found in his ''Otello'' (1816), where the role of Otello was written for a baritenore (Andrea Nozzari), while the role of Rodrigo, his young rival for the affections of Desdemona, was written for a tenore di grazia (Giovanni David). Nozzari and David were paired again in Rossini's ''Ricciardo e Zoraide'' (1818), with a similar contrast in characters – Nozzari sang the role of Agorante, King of Nubia, while David portrayed the Christian knight, Ricciardo.
The Italian musicologist, Rodolfo Celletti (d. 2004), proposed that the Rossinian baritenor was nothing new to opera. According to Celletti, the tenor voices used for leading roles in early baroque operas such as Jacopo Peri's ''Euridice'' (1600) and Claudio Monteverdi's ''Il ritorno d'Ulisse in patria'' (1640) were essentially "baritenor" ones with a range common to both the baritone and tenor voices of today.〔Celletti (1989) p. 19 and Celletti (1996) p. 32〕 In his 2009 book, ''Tenor: History of a voice'', John Potter refers to this type of voice as "tenor-bass" and notes that several virtuoso singers of the 17th century who were described as "tenors" by their contemporaries could also sing in the bass register: Giulio Caccini, Giuseppino Cenci, Giovanni Domenico Puliaschi and Francesco Rasi.〔Potter (2009) pp. 17-18〕 Rasi created the title tole in Monteverdi's first opera, ''L'Orfeo'' (1607),〔Whenham (1986) p. 5〕 which in modern times has been sung by tenors such as Anthony Rolfe Johnson〔Whenham (1986) p. 113〕 as well as by lyric baritones, such as Simon Keenlyside.〔Holland (12 June 1999)〕 Based on their descriptions in Vincenzo Giustiniani's ''Discorso sopra la musica'' (1628), Potter has suggested that singers such as Caccini, Cenci, Puliaschi, and Rasi, employed an "open speech-like sound" which facilitated the agility and clarity of expression for which their voices were renowned.〔Potter (2009) p. 17. See Wistreich (2007) p. 198 for Giustiniani's descriptions.〕
With the rise of the castrato singer in Italian opera, the baritenor voice came to be perceived as "ordinary" or even "vulgar" and was relegated to portraying character roles – villains, grotesques, old men, and even women.〔Celletti (1996) p. 7〕 Although there were exceptions, such Dario in Vivaldi's ''L'incoronazione di Dario'' (created by the tenor Annibale Pio Fabri),〔Casaglia (2005).〕 the leading male roles (and especially that of the romantic lover) in Italian operas of the middle and late baroque era were largely written for the high, exotic voices of the castrati.〔This was not the case in France, however, where there was a distaste for castrati in such roles. See Heriot (1975) p. 13〕 In French opera of the same period, the baritenor voice, called the ''taille'' (or ''haute-taille'') before the term ''ténor'' came into general use, was little used for important solo parts, although possibly more often than in Italian opera. Because of the general dislike for the castrato voice in France, young lover roles were assigned to the high male voices of hautes-contre.〔Potter, p. 19; Heriot (1975) p. 13; for the usage of French terminology, see also: L. Sawkins, art. "Haute-contre", and O. Jander, J.B. Steane, E. Forbes, art. "Tenor", in ''New Grove Dictionary'', II, pp. 668/669, and III, p. 690〕 Today the ''taille'' roles are most often performed by baritones.
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