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A COUNTERTENOR’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 MUSIC
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 countertenors to find operatic repertoire. The
purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers
with countertenors as students. Arias were selected based on the premise that the original singer
was a castrato, the original singer was a countertenor, or the role is commonly performed by
countertenors of today. Information about the composer, information about the opera, and the
pedagogical significance of each aria 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 soprano 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 sopranos,
mezzo-sopranos, tenors, baritones, 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 voice, 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 opera
seria 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 Baroque. This led me to learn about repertoire I was
unaware existed. I read more about the use of castrati in the operas 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 FRANCESCO CAVALLI ............................. 1
Introduction ............................................................................................................ 1
“Delizie contente” ..................................................................................................... 1
CHAPTER II. “OUR NEXT MOTION” BY HENRY PURCELL ...................................... 3
Introduction ............................................................................................................ 3
The Sorceress Debate ................................................................................................ 3
“Our Next Motion” .................................................................................................... 4
CHAPTER III. “OMBRA MAI FU” 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 ANTONIO VIVALDI ......................... 14
Introduction ............................................................................................................ 14
“Qual serpe tortuosa” ................................................................................................. 14
CHAPTER VI. “J’AI PERDU MON EURYDICE” BY CHRISTOPH W. GLUCK .......... 17
Introduction ............................................................................................................ 17
“J’ai perdu mon Eurydice”......................................................................................... 17
viii
CHAPTER VII. “QUALCHE VOLTA NON FA MALE” BY JOSEPH 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 BENJAMIN BRITTEN ............ 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 Songs 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 Raymond Leppard.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 Giasone’s entrance aria about the pleasures of love. When looking at the
medium 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 fermatas 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’Ormindo by Francesco Cavalli,” Journal of the American Musicological Society 24, no. 2 (1971): 313-17.
2
Study Sheet
Piece: “Delizie contente” (Medium Key)
Character: Giasone
Opera: Giasone (Jason, 1648)
Composer: Francesco Cavalli (1602-1676)
Librettist: Giacinto Andrea Cicognini
(1606-1650)
Range:
Tessitura:
Language: Italian
Original Singer: Amato Riminuzzi
(contralto castrato)
Character Type: Leader of Argonauts,
warrior, lazy as of late, lover of Medea,
lustful
Character Synopsis:
“Delizie contente” is the entrance aria of
Giasone. He sings about being content with
the pleasures of love and sex. His
companions fear that he has gotten soft and
is neglecting his responsibilities. He goes on
a journey, faces monsters, and captures the
golden fleece. The opera ends by resolving
the overlapping love interests between the
principal characters.
Vocal Requirements:
This piece requires legato phrasing. Cavalli
was phenomenal at interweaving the vocal
inflections of spoken Italian text with the
musical notation.
Extended Study:
“Lucidissima face…” (La Calisto)
“Lidio [selections]” (L’Egisto)
Book Recommendation:
Ellen Rosand, ed., Readying Cavalli's
Operas for the Stage: Manuscript, Edition,
Production (New York: Taylor & Francis,
2016).
Wendy Heller, Emblems of Eloquence:
Opera and Women’s Voices in Seventeenth-
Century Venice (Los Angeles: The
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 bass.5 Arguments have arisen
4 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), 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 Lament,” 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 play 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
Piece: “Our Next Motion”
Character: Sorceress/Sorcerer
Opera: Dido & Aeneas (before 1689)
Composer: Henry Purcell (1659-1695)
Librettist: Nahum Tate (1652-1715)
Range:
Tessitura:
Language: English
Original Singer: Possibly Wiltshire (bass)
Character Type: villain, menacing,
commonly performed comically
Character Synopsis:
The Sorceress/Sorcerer seeks the destruction
of Carthage. She/he plots to send Aeneas
elsewhere in the hopes that Dido will die
from grief. The Sorceress/Sorcerer succeeds
in convincing Aeneas to leave. Aeneas
comes back to Dido though, and she rejects
him. After turning Aeneas away, Dido dies.
Vocal Requirements:
A higher tessitura, a good understanding of
vowels and their use in moving lines, a good
understanding of consonants and their use in
leaps.
Extended Study: “What power art thou…”
[Also called: “Cold Genius aria”] (King
Arthur); “One Charming Night” (The Fairy-
Queen)
*These pieces are from his semi-operas
Book Recommendations:
Jonathan Keates, Purcell: A Biography
(Boston: Northeastern University Press,
1995).
There is a section discussing the difficulty of
this piece and singing the music of Henry
Purcell in:
Martha Elliott, Singing in Style: A Guide to
Vocal Performance Practices (New Haven:
Yale University Press, 2006).
7
CHAPTER III. “OMBRA MAI FU” BY GEORGE F. HANDEL
Introduction
One cannot discuss Baroque music without drawing attention to George Frideric Handel.
His music has transcended time in the same way Greek mythology impacted the creation of
opera. Most people, regardless of their knowledge on music, are still familiar with the
“Hallelujah chorus” from his Messiah. 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, alto
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, Song: A Guide to Art Song Style and Literature (Milwaukee: Hal Leonard, 2006), 418. 11 Donald Burrows, Handel (New York: Oxford University Press, 2012), 299.
8
allow a voice teacher 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 Serse. Over the years it has been transposed
and sung in higher and lower keys. This is not a da capo 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 falsetto. 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 recitative before “Ombra mai fu” how he wishes nothing
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
Piece: “Ombra mai fu”
Character: Serse (King of Persia)
Opera: Serse (Xerxes, 1738)
Composer: George F. Handel (1685-1759)
Librettist: Nicolò Minato (ca. 1620-1698)
Range:
Tessitura:
Language: Italian
Original Singer: Gaetano Majorano
“Caffarelli” (castrato)
Character Type: King, lover, betrayed
love, exhibits naivety and buffoonery at
times
Character Synopsis:
Serse is engaged to Princess Amastre. He
then falls in love with Romilda, who is
already in love with Arsemene. Through a
series of disguises and manipulation, this
opera displays a slew of characters who love
each other or want revenge for love that
could be lost. Serse mistakenly thinks he is
marrying Romilda and discovers that she
married Arsemene. Serse wants to punish
him but realizes his own faults in the
process. Serse then marries his original
betrothed, Amastre. The opera ends in
celebration.
Vocal Requirements:
This aria requires the singer to perform wide
leaps and sustained notes. It is available in
various keys.
Extended Study:
“Your Tuneful Voice” (Semele)
“Stimulato dalla gloria” (Orlando)
Book Recommendation:
Donald Burrows, Handel (New York:
Oxford University Press, 2012).
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. Rinaldo was Handel’s first London 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 Metropolitan Opera 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 da capo aria 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 rhythms, 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 Anthony Hicks, “Rinaldo,” Grove Music Online, accessed: March 17, 2019, http://www.oxfordmusiconline.com.ezproxy.bgsu.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-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 accompaniment 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 tempo 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
Piece: “Sulla ruota di fortuna”
Character: Eustazio
Opera: Rinaldo (1711)
Composer: George F. Handel (1685-1759)
Librettist: Giacomo Rossi
Range:
Tessitura:
Language: Italian
Original Singer: Valentino Urbani
“Valentini” (alto castrato)
Character Type: Hero, warrior, brother,
Christian
Character Synopsis:
This opera takes place during the first
crusade. Eustazio is the brother of Goffredo,
leader of the Christian forces. He is a hero
alongside Rinaldo and Goffredo. Eustazio
acts as the voice of reason to a certain
extent. He successfully predicts the
fearfulness exhibited by Argante and
attempts to prevent Rinaldo from being
tricked. He gains a magic wand from the
sorcerer and eventually apprehends the
sorceress, Armida, who is successfully
converted to Christianity at the end of the
opera.
Vocal Requirements:
This aria requires the singer to perform with
rhythmic accuracy and good intonation.
“Sulla ruota di fortuna” is a great aria to
work on trills, runs, and legato phrasing.
Teachers will also need to address
appropriate ornamentation in the repeated A
section of this da capo aria.
Extended Study:
“Prest omai l’Egizia terra” (Giulio Cesare)
“Già lo stringo” (Orlando)
Book Recommendation:
Donald Burrows, Handel (New York:
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 Philippe Jaroussky 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 La fida ninfa 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/omo-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 rhythm 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 appoggiaturas 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, Alessandro Borin, Antonio Frigé, and Michael Talbot (Milano: Casa Ricordi, 2013), xxxiv. 22 Ibid., 101-105.
16
Study Sheet
Piece: “Qual serpe tortuosa”
Character: Osmino
Opera: La fida ninfa (The Faithful Nymph,
1732)
Composer: Antonio Vivaldi (1678-1741)
Librettist: Scipione Maffei (1675-1755)
Range:
Tessitura:
Language: Italian
Original Singer: Stefano Pasi (alto castrato)
Character Type: Shepherd, blinded by
love, naïve, can be cowardly
Character Synopsis:
Osmino is a shepherd who is in love with
Licori. Through a confusing plot of being
mistaken for someone else and manipulated
by Licori, his adventures will someday be
retold on the stage, according to the finale.
“Qual serpe tortuosa” is at a point in the
opera where Osmino is describing to
Morasto his love with Licori. This is a love
triangle moment because Morasto was
recently rejected by Licori when Osmino
starts this aria.
Vocal Requirements:
This aria requires the singer to perform wide
leaps. The vocal line needs legato phrasing
and lightness. The singer will have to
implement proper ornamentation practice
with the repeated A section.
Extended Study:
“Ah, che non posso…” (La fida ninfa)
Book Recommendation:
Michael Talbot, Vivaldi (New York: Oxford
University Press, 2000).
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 Orfeo ed Euridice, 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 Orpheus had been used in opera by numerous composers. It was a familiar
myth and the plot was easily adaptable. Gluck premiered Orfeo ed Euridice in a translated
version, Orphée et Eurydice, in France. This revival in Paris 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 voice type, 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 tenor 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
Piece: “J’ai perdu mon Eurydice”
Character: Orphée
Opera: Orphée et Eurydice (Orpheus and
Euridice, 1774)
Composer: Christoph W. Gluck (1714-
1787)
Librettist: Pierre Louis Moline (1740-1821)
Range:
Tessitura:
Language: French
Original Singer: Gaetano Guadagni (alto
castrato) [Vienna, 1762, in Italian]; Joseph
Legros (haute-contre) [Paris, 1774, in
French]
Character Type: Beautiful mythical singer,
young, grieving lover, brave in the face of
danger
Character Synopsis:
Orphée goes into the underworld to recover
the love that was taken from him. He
manages to get Eurydice and starts exiting
the underworld. Orphée is unable to speak to
Eurydice and she is filled with doubt
regarding his love for her. She stops walking
and Orphée turns around. When Orphée
turns around, she dies once more. This aria
follows her second death.
Vocal Requirements:
This piece requires a stable and supported
upper register. The singer will need legato
phrasing to get through some challenging
phrases.
Extended Study:
“Recagli quell’acciaro” (Ezio/Vienna
version)
“Se il fumine sospendi” (Ezio/Vienna
version)
*Gluck revived Ezio and made changes from
its original version. The score used for
research was the vocal score of the Vienna
version.
20
CHAPTER VII. “QUALCHE VOLTA NON FA MALE” BY JOSEPH HAYDN
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 Il mondo della luna is fine example of dramma
giocoso as established by the librettist, Carlo Goldoni. It is a phenomenal work for countertenors
with comedic inclinations to explore. It is also performed as a German Singspiel, 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
Piece: “Qualche volta non fa male”
Character: Ernesto
Opera: Il mondo della luna (The World on
the Moon, 1777)
Composer: Joseph Haydn (1732-1809)
Librettist: Adapted from Carlo Goldoni
(1707-1793)
Range:
Tessitura:
Language: Italian (can be sung in German)
Original Singer: Pietro Gherardi (alto
castrato)
Character Type: Cavalier, lover, trickster,
disguised as a star
Character Synopsis:
Ernesto is in love with Flamina. Together,
with Ecclitico and Cecco, they trick
Flamina’s overprotective father to allow his
daughters to marry whom they want. They
achieve this by making Buonafede believe
he is on the moon. Ernesto sings this aria
while dressed up as a star and attempting to
show Buonafede the error of his ways.
Vocal Requirements:
This aria demands a stable and supported
upper register. This is a longer piece that
will require stamina.
Extended Study:
“Begli occhi vezzosi” (Il mondo della luna)
*can be sung in German
“Amore nel mio petto” (Lo speziale)
*pants role
22
CHAPTER VIII. “AL MIO BEN MI VEGGIO AVANTI” BY WOLFGANG A. MOZART
Introduction
Somewhere along a singer’s vocal development, Wolfgang Amadeus 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. Leopold Mozart commented that the plot of Ascanio in Alba was similar to the
story of Archduke Ferdinand and Maria Ricciarda Berenice 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
Piece: “Al mio ben mi veggio avanti”
Character: Ascanio
Opera: Ascanio in Alba (1771)
Composer: Wolfgang Amadeus Mozart
(1756-1791)
Librettist: Giuseppe Parini (1729-1799)
Range:
Tessitura:
Language: Italian
Original Singer: Giovanni Manzuoli (alto
castrato)
*Mozart’s former singing instructor
Character Type: Prince, lover, son of
Venus
Character Synopsis:
Ascanio is expected to marry and succeed
the throne by the command of Venus. He is
aware that he is to marry Sylvia but has
never met her. Venus makes Ascanio agree
to withhold his identity from Sylvia until he
can understand her virtue. Venus has been
imprinting the image of Ascanio in the
dreams of Sylvia for years. This causes
confusion when Ascanio appears before
Sylvia but cannot disclose his identity.
Ascanio sings this aria after witnessing
Sylvia being distraught in the arms of
nymphs. He expresses the desire to conceal
himself to rid her of her woes.
Vocal Requirements:
This aria demands stable breath and register
shifts. Legato phrasing and lightness are
required to bring out the text and rests
between musical phrases.
Extended Study:
“Torna mio bene, ascolta” (Ascanio in Alba)
“Dolce d’amor compagna” (La finta
giardiniera)
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 Italy 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 Idomeneo’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
cadences 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 Farnace 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
Piece: “Va, l’error mio palesa”
Character: Farnace
Opera: Mitridate, rè di Ponto (Mithridates,
King of Pontus, 1770)
Composer: Wolfgang Amadeus Mozart
(1756-1791)
Librettist: Vittorio Amedeo Cigna-Santi
(1728-1799)
Range:
Language: Italian
Original Singer: Giuseppe Cicognani (alto
castrato)
Character Type: Prince, son of Mitridate,
viewed as spoiled, in love with Aspasia who
is betrothed to his father
Character Synopsis:
Farnace is in a love rectangle between his
brother, Sifare, and his father, Mitridate. All
three of them are in love with Aspasia.
Aspasia only reciprocates love to Sifare.
Mitridate imprisons Farnace after he scorns
Ismene. Farnace is freed during the midst of
battle and goes to support Mitridate. When
the battle concludes, Farnace is forgiven by
Mitridate and marries Ismene.
Vocal Requirements:
This aria demands the stable use of low to
high vocal registers. Ornamentation can be
implemented in the repeated “A” section.
This is a good opportunity to discuss the
difference in ornamenting Handel arias and
Mozart arias.
Extended Study:
“Il padre adorato” (Idomeneo)
*This role goes to G5, not Bb6 like Mozart
usually wrote for his soprano castrato arias.
“Va pure ad alrtri in braccio” (La finta
giardiniera)
Book Recommendation:
Louis Biancolli, The Mozart Handbook
(New York: Grosset & Dunlap, 1962).
J. D. McClatchy, Seven Mozart Librettos
(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, Oberon, was written for the countertenor voice. The original
Oberon in this opera was Alfred 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 Peter Pears 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. Vowel work will be a huge part
of overcoming these challenges.
Britten does an excellent job of making Oberon sound other-worldly. The haunting
melody creates an ambiance that is authoritative and hypnotizing.
29
Study Sheet
Piece: “Flower of this Purple Dye”
Character: Oberon
Opera: A Midsummer Night’s Dream
(1960)
Composer: Benjamin Britten (1913-1976)
Librettist: Adapted from William
Shakespeare by Benjamin Britten and Peter
Pears (1910-1986).
Range:
Tessitura:
Language: English
Original Singer: Alfred Deller
*Deller was a pioneer of the resurgence of
the countertenor voice in the twentieth
century. It is imperative that countertenors
study him.
Character Type: King of Fairies, trickster,
authoritative, bitter husband of Titania
Character Synopsis:
Oberon argues with Titania about whether to
make a boy a servant or a knight. He strives
to trick her by using a flower that makes the
recipient fall in love with the first creature
their eyes see. He orders Puck to use the
flower on a group of humans that causes a
confusion of love interests.
Vocal Requirements:
This piece requires great intonation to sing
the plethora of chromatics and smooth
legato phrasing.
Extended Study:
“Welcome wanderer…” (A Midsummer
Night’s Dream)
*“Welcome wanderer…” (also called “I
know a bank”) is a very popular audition
piece for countertenors. It is much more
challenging than “Flower of this purple
dye.”
Death in Venice
*This opera by Benjamin Britten does not
feature any extractable arias for
countertenor.
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 Hans Werner Henze, Peter Maxwell Davies, Zhou Long, Phillip Glass, Jonathan
Dove, Judith Weir, and James Garner.
Hans Werner Henze (1926-2012)
The countertenor role of Artemis in Henze’s opera Phaedra (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 Taverner (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 staccato 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, Resurrection (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 piano 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, Satyagraha (1980) and Akhnaten (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, “Hymn 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 Flight (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 tempos 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 Kent Opera.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 pantomime
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 modal voice 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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