Post by kaji on Mar 9, 2024 3:07:00 GMT
Mar 6, 2024 23:14:45 GMT kaji said:
Verdi's Aroldo calls for a low F. Ruprecht from Prokofiev's the Fiery Angel also calls for a low F. Julio in Adès' the Exterminating Angel actually requires D2 to A4 but Adès is an awful composer who doesn't know how to write for the human voice. F2 is very rare in baritone repertoire but not unheard of. I would honestly call a G2 for tenor repertoire more common than F2 for baritone rep as crazy as that is. Paër wrote wide ranging F2 to D5 roles for a tenor and Haydn did the same but G2 to D5 (as did Meyerbeer in Il crociato in Egitto). The craziest one would likely be Mazzoni's Antigono written for the great tenor Gregorio Babbi which calls for G5 to G2 scale downards in one phrase and a D2 in another scene. But that opera has only been performed in one production hundreds of years after the opera's composition. Michael Spyres starred in this production and recorded the entire role on a disc in 2011 or so. "I do have to say that I am proud of the aspect that I have already performed some of the Highest and the Lowest roles in all of the tenor repertoire, (Arnold-Guillaume Tell, Raoul-Les Huguenots, Lindoro-L’Italiana in Algieri, as well as Otello-Rossini, Rodrigo-Donna del Lago, Candide-Bernstein), and as far as I know I managed to do the largest ranged role ever performed live in a modern revival of a baroque opera named Antigono by Antonio Mazzoni in Lisbon last year. I had to sing an F5 and a D2 in the same performance which tested the limits of my mental and physical capabilities."
There's a three octave drop in there. In one performance he sings it from an F#5 in mixed voice and down to an F#2 in chest voice at the end. I haven't heard the D2 (or similar) involved.
