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Tenore di grazia, also called leggero tenor [a] (graceful, light, and lightweight tenor, respectively), is a lightweight, flexible tenor voice type. [2] [3] The tenor roles written in the early 19th-century Italian operas are invariably leggero tenor roles, especially those by Rossini such as Lindoro in L'italiana in Algeri, Don Ramiro in La Cenerentola, and Almaviva in Il barbiere di Siviglia ...
Marcello Giordani (born Marcello Guagliardo; 25 January 1963 – 5 October 2019) was an Italian operatic tenor who sang leading roles of the Italian and French repertoire in opera houses throughout Europe and the United States.
The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C 3 (C one octave below middle C), to the high C (C 5). The low extreme for tenors is roughly A 2 (two octaves below middle C). At the highest extreme, some tenors can sing up to F one octave above middle C (F ...
Beniamino Gigli (/ ˈ dʒ iː l i / JEE-lee, Italian: [benjaˈmiːno ˈdʒiʎʎi]; 20 March 1890 – 30 November 1957) [1] was an Italian opera singer (lyric tenor). He is widely regarded as one of the greatest tenors of his generation.
A woman who sings the tenor line is really a contralto when applied to the classical vocal type system, and a man who sings alto or soprano a countertenor or sopranist. [8] That being said, non-classical singers can adopt some of the terms from both systems, but not all of them, when classifying their voices.
Michael Fabiano (born 8 May 1984) [1] is an American operatic tenor.Born in Montclair, New Jersey, he has performed in leading opera houses throughout the world, including the San Francisco Opera, Metropolitan Opera, Paris Opera, Sydney Opera, Teatro alla Scala, Canadian Opera Company, The Royal Opera, and Teatro Real de Madrid among many others.
Marcelo Raúl Álvarez (born February 27, 1962) is an Argentine lyric tenor who achieved international success starting in the mid-1990s. Álvarez travels widely, performing with top singers in major opera houses and concert halls around the world.
Engaged as principal tenor of the Ancient Concerts under Joah Bates, he sang Handel's "Deeper and deeper still", and brought fresh humour to "Haste thee, nymph" (coached by Linley) to the delight of the royal audience. "In singing sacred music I was aware of its value, and fagged at the tenor songs of Handel with unremitting assiduity", he wrote.