THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH

Abstract

Musicians who want to perform Handel’s oratorios in the twenty-first century are faced with several choices. One such choice is whether or not to use the baritone voice, and in what way is best to use him. In order to best answer that question, this study first examines the history of the baritone voice type, the historical context of Handel’s life and compositional style, and performing practices from the baroque era. It then applies that information to a case study of a representative sample of Handel’s solo oratorio literature. Using selections from Messiah this study charts the advantages and disadvantages of having a baritone sing the solo parts of Messiah rather than the voice part listed, i.e. tenor or bass, in both a modern performance and an historically-informed performance in an attempt to determine whether a baritone should sing the tenor roles or bass roles and in what context. Based on information gathered for the case study, such as the average ranges, tessituras, and vocal demands of the male solo roles in Handel’s oratorios, in conjunction with what is known about voices in history as well as the performance practices, traditions, and musical styles established by the time Handel composed Messiah, it is my assessment that a twenty-first century baritone can effectively sing the tenor parts of Handel’s oratorios when performing at baroque pitch, with dedication to historically accurate performance practices. However, with modern performing forces and pitch levels, the music would be better served if he sings the bass part. Regardless of what role baritones are cast to sing, the vocal demands Handel’s music places on the singer in terms of the extensive range and his imaginative text painting, a baritone will likely find the music a challenge well worth pursuing.