Low male voice repertoire in contemporary musical theatre: a studio and performance guide of selected songs 1996-2020 by

Vocal Considerations 
Musical Style. In the search for contemporary repertoire, I was hard pressed to find up-tempo 
pieces for low male voice; as a piece with a tessitura intended for a well-aged baritenor, this piece’s 
higher pitched, climactic moments give deference to syncopation and use of consonants over classical or 
even legit vocal aesthetic and weight. The addition of Latin flair and big band orchestrated samba 
requires a flexibility of performed rhythm but continual awareness of the piece’s big beats and rhythmic 
drive through each phrase. This is also a piece where the vocalist should be encouraged to react to every 
interlude – find inspired dance or acting movements when interacting with the accompaniment even if 
only for a measure or two. 
Range. (B
♭
2
– F#
4
) This piece’s tessitura sits in a low classical baritone range (think Handel’s 
“Honor and Arms”) while the fast tempo encourages the use of mix and engagement of legato line in the 
D
4
continuing triplets after the dance break. This string of repeated melody is not unlike patter portions 
of Rossini bass-baritone material (“A un dottor della mia sorte”) or low baritone Mozart material (“Pa-Pa-
Pa-Pa-Pa-Pa-Papagena”, “Aprite un po’ quegli’”) but with slower cadential pattern, lower expectation of 
volume output and the potential ease of using one’s first language. The sustained ending note is the 
dominant of the key, a D4 with which one can practice altering the weight and color of one’s voice using 
mezza di voce and stylistically appropriate use of terminal vibrato. Should the tessitura prove to be to 
high for vocal sustainability, transposition of a half or whole step would allow a LMV access to this 
character challenge. 
Vocalism. The very nature of the rate and speed at which Barry experiences and resolves 
different memories and emotions calls for a flexible and wide range of vocal production. The original 

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recording includes short phrases and shortened ending consonants in the introduction; the use of shadow 
vowels and a breathiness quality both within and at the ends of phrases help set up the shift into speech-
like singing over the course of the two verses. While the frequent use of a character voice (lisp, nasality) 
is heard throughout the original recording, there is also a wide variety of material for a low male voice to 
belt. While the words “the prom” on an F
4
prior to the bridge are the most obvious place in which a 
different coordination should occur (aiming not for a “cover” or “protected” classical sound, but instead 
for a spread vowel and slightly tilted larynx), one is also encouraged to experiment with tone production 
on the string of D
4
notes after the dance break as tools to aid finding a free and non-pressed sound. 
Songs in Similar Style. “Not the Boy Next Door” from The Boy from Oz, “King’s Dilemma” 
from Victor/Victoria (1995).

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