Tenor-trial and baritone-martin in M.Ravel’s music theatre

Irina S. Zakharbekova

Abstract


The paper describes vocal timbres – tenor-trial and baritone-martin – used in Maurice Ravel’s L’Heure espagnole and L’Enfant et les Sortilèges. It provides brief information about Antoine Trial and Jean-Blaise Martin whose surnames became French terms for similar voices and gives an overview of the first performers in Ravel’s productions: Jean Périer, Maurice Cazeneuve, Edmond Warnéry, and Henri Fabert.

The paper also focuses on the history of trial and marten and the repertory based on them. It lists a range of French musical comedies and operettas of the second half of the 19th century and their first performers. Typical mostly for comic genres, tenor-trial and baritone-martin can be also found in French lyric operas. Performers often prove to be flexible and versatile in their repertory and no less flexible and plastic in their vocal skills. Such tembers are common for comic actors and vaudeville performers.

Keywords: Ravel, music theatre, tenor-trial, baritone-martin, French comicopera

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Copyright (c) 2018 Zakharbekova Irina S.

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