The Operatic Tenor

Photo: Lawrence Brownlee (supplied by Lawrence Brownlee) https://newpittsburghcourieronline.com/2015/06/18/opera-singer-brownlee-wows-world-audiences-with-his-voice/

“A mes amis” from Donzietti’s La Fille du Régiment has proved itself as both an impressive and moving aria within the opera. As I interpret the piece, “A mes amis” is, in essence, a proclamation of love. Although the song is evidently somewhat ostentatious, the context of it is pure.

Musically, the piece is seemingly vocally difficult; I understand why only particular tenors are able to sing the song successfully. It contains many vocal runs, constantly changing tempos, and obviously the several high Cs. However, although the high Cs are obviously the main contributors to the song’s “showiness”, the song is generally in a higher range for men. Additionally, there are many longer notes which requires a lot of breath support. Lawrence Brownlee’s rendition of “A mes amis” demonstrated his extensive breathing technique, and his habit of holding out the higher notes longer than needed proved how talented he truly is. However, in a theatrical context, the aria’s flashiness was emphasized even more. In my personal opinion, I thought Juan Diego Florez’s performance of “A mes amis” was even more impressive because it was within the context of the opera. Compared to the songs that were more conversational in the opera, it’s easy to see how this tenor piece could be a show-stopper. Additionally, the song takes place within the first act, and it seems that it would be challenging for a performer to sing such a vocally difficult piece so early in the show.

As I stated earlier, this piece is essentially Tonio’s proclamation of his love for Maria. Even more than that, it is his attempt to convince the regiment — and himself — of his worthiness, and to give him Maria’s hand in marriage. Therefore, it is understandable that this tenor solo would be showy because he is trying to prove something to the other men and to himself. Ultimately, I think this specific aria reflects Tonio’s courageous and persistent attitude, as well as his admirable passion for love. Shockingly, I enjoyed this particular aria very much. The only arias that I had been exposed to before this course were soprano arias and although I thought they were beautiful, they didn’t move me as much as “A mes amis” — specifically Lawerence Brownlee’s performance. I’m not sure if I’m drawn to solely “A mes amis”, or I am simply more fond of operatic solos in the tenor range.

It’s difficult to compare this aria to other genres because it is so unique stylistically. One artist that does come to mind, however, is Jason Derulo, a pop artist that is known for typically singing in a higher range. Although, the operatic tenor songs are most chesty and more masculine in my opinion, Jason Derulo’s music reminds me more of the Castrati pieces we listened to in class. However, I’m not particularly fond of Derulo’s voice. I enjoy the sound and tone of belting voices rather than falsettos; I think they have more power behind them. In most of Jason Derulo’s songs he sings in his falsetto for the greater portion of the song and I’ve always thought it sounded somewhat whiny — for lack of a better word. For example, Derulo’s song “Want You to Want Me” features the artist singing most of the song in what sounds like an auto-tuned version of him whining (although he does flip into a chestier sound for the chorus). However, I do admit that he is still able to sing those notes fairly well in a live setting, which demonstrates that he has good control over his voice. I don’t meant to sound harsh in my critiques, but I just simply enjoy the darker tones of the operatic genre and the chestier voices present in the renditions of “Ah mes amis”.

Overall, I found “A mes amis” significantly more impressive in terms of vocals and musical technique than any of the male songs we hear on the radio today. Although I wouldn’t go to the extent of saying I enjoy these arias more than modern day music, I do appreciate the technique of the operatic tenors I’ve been exposed to thus far. Admittedly, I’ve enjoyed researching and listening to the tenor operatic solos more than I expected I would. Because my opera knowledge is severely lacking, I’m looking forward to learning more about the varying aspects of the operatic genre — both past and present.

Jason Derulo’s “Want You To Want Me” (2015)

Jason Derulo’s “Want You To Want Me” (Live 2018)