Il tenore eroico

Speranza


Although much is known, about Richard Wagner himself, and all that he contributed to the development of a Wagnerian type of Italian opera (which would include Puccini), the Wagnerian TENOR, otherwise known as the "Helden tenor" ("tenore eroico", in Italian), is probably the least understood type of singer in opera.

This lack of understanding has led to the creation of three myths:

One, that Heldentenor roles are practically impossible to sing, primarily because of their length, their lack of lyrical melody, and their complex orchestral accompaniment.

Two, the Heldentenor is really a baritone/tenor hybrid.

And three, Heldentenors are extremely rare, perhaps even extinct.

While each myth contains some truth, together they present an inaccurate view of the Heldentenor.

Wagner never intended to write tenor roles that
were "unsingable," nor did he want a singer who was equal parts baritone and tenor.

His goal was to create a type of tenor that was unique and GERMAN, as opposed to the Italian style.

Wagner thought that the Italian style of tenor
singing, which placed
emphasis on technical
VIRTUOSITY, were
incompatible with a German
singer's nature.

The result of Wagner's efforts over the entire course of his career was a new type of singer, the Heldentenor.

Analyses of Wagner's Heldentenor roles reveal that Wagner does have his tenors sing for long periods of time.

Not just over the course of the whole opera, but also within certain scenes or acts.

In later operas such as "Tristano" and "Sigfrido", the Heldentenor does

NOT have the luxury of singing in ensembles, supported by other characters.

Also, Heldentenors do sing a slightly lower vocal
range than other, more traditional tenor roles.

The study of the careers of Wagner's first Heldentenors---

Joseph Tichatschek,
Ludwig Schnorr von Carolsfeld, and
Albert Niemann---

shows that each of these singers had strengths that Wagner valued.

He wanted his tenors to be good singers, capable musicians, solid actors, and sensitive artists.

Through careful study of Wagner's tenor roles, a more complete understanding of Heldentenors can be achieved.

Perhaps singers will no longer hesitate to perform these roles and voice teachers will not shy away from assigning this music to their students.

While Heldentenor roles are long and challenging, they are not impossible to sing.