The Voice | Convenienze | High Romantic | Opera

The term convenienze – ‘conveniences’ – described the hierarchy of singers in nineteenth-century Italian opera and the etiquette surrounding their participation. The three main principals were the soprano or prima donna – first lady – the tenor or primo uomo – first man – and the baritone or basso cantante – lower or bass singer. Under the Code Rossini, the formal structure of opera that applied between around 1815 and 1860, each of the principal singers was given a cavatina, a short solo song, with which to make themselves known to the audience. Each also had a scena, a dramatic solo that was less than an aria, but concluded with a short solo section, the cabaletta. This was often used for displays of vocal technique. Secondary roles, such as maids, servants or confidantes, were known as seconda donna – second lady – and secondo uomo – second man. No solo arias were written for them, but they could sing in ensembles where their individual voices were allowed a phrase or two of their own. An intermediate performer, known as comprimario – supporting actor or actress – had a little more latitude: he or she might take part in a duet or even have a short, simple aria to sing alone.

The Voice | Singing in the Ring | High Romantic | Opera
Techniques | Cabaletta | Early Romantic | Opera

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