Susan raised a query in a comment to my previous post 100 Things etc when I mentioned that my ex husband used to be a baritone. I hasten to add that I did not do a 'bobbit' on him though this change in vocal style did occur just six months after we were married...
Patrick had a very lovely baritone voice, but it was a light and fairly high one and some of the baritone roles he was singing, or the baritone solos in oratorios etc did not sit well for him, the lower range was not strong. I told him that in my humble opinion, he was a tenor with an underlying lower register and why not give it a bash? He gradually began to sing tenor roles, going to singing lessons all the while, and the voice began to assume the brightness of a tenor. He has been a tenor every since.
This upgrading of a voice is not unusual. Placido Domingo was a baritone before he became the glorious singer we know and love and I have always felt that this underlying baritonal quality has given his voice the bottom it needs. An example of this, and one I mentioned in my post on Don Carlos, was that this was
a role that suited Placido well because of this attribute and that Rolando Villazon should not be attempting it. Jose Carreras was rather taken over by Karajan early in his career and, in my opinion, dazzled him somewhat - difficult to resist a superstar conductor such as him - but I think he did Jose a disservice in that he gave him heavier roles to sing which did not help his voice at all. By the time Jose had essayed Radames in Aida (which he should never have attempted) his wonderful golden tenor was showing the strain. I saw Placido have difficulty with Radames once as well, it is a killer of a sing.
Another instance of upgrading, though in this case from mezzo to soprano, is that of Joan Sutherland. She had been firmly taught that she was a mezzo but her husband, Richard Boynge, disagreed and while he was giving her singing lessons would gradually transpose arias and scales so that she was singing higher than she thought she was! Of course, she had the most glorious coloratura voice as we know, and again her voice was well supported by her mezzo qualities.
Now, we have the other way round. Maria Callas had a sensational but short lived career because of an almost frightening disregard for her vocal health, hurling herself, literally in the case of Tosca, into everything. This made her one of the most exciting singers of all time but the voice began to show this lack of care. Towards the end of her career she sang Eboli (Don Carlos), and
Carmen - these are roles traditionally sung by a mezzo but suited her voice then. I even have a record of her singing the Liebestod from Tristan and Isolde which is an oddity but wonderful.
Last week on YouTube I saw a wonderful video of the Baritone/Tenor duet from the first act of Don Carlos sung by Villazon and Domingo with Placido taking the baritone part. It sounded magnificent. Villazon's lighter tenor (somebody tell him to do Donizetti for heaven's sake) blended beautifully with Domingo's darker tones. If I was being fanciful I would say Villazon was a glass of Chianti and Domingo a full bodied claret.
OK well I am sure you now know more about tenor/baritones etc than you really wanted to know, but I have enjoyed writing about it and it gives me an excuse to put in a couple of pics of the lovely Jose and the sexy Placido.
Who said opera was all about voice only......?