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

Chapter 3:
 
REPERTOIRE
 
SELECTION 
The first step towards creating a repertoire selection strategy was to survey previous publications 
that serve as pedagogical or repertoire references for the bass voice. Dann Mitton published an annotated 
resource guide for low male voice to accompany his 2018 dissertation; upon perusal it provides a small 
but beneficial crop of bass specific resources; however, most materials grant focus to all three low male 
voice types (baritone, bass-baritone, and bass)
1
. Reference and anthology material specifically for bass-
baritone and bass can be found sporadically within the art-song and operatic fields; books or collections 
of scores published over the last twenty-five years include Benjamin Britten Opera Arias: Bass-Baritone, 
Schubert Lieder, Vol. 1: Very Low Voice, French Operatic Arias for Bass, Ange Flégier Collection of 13 
Songs for Bass Voice, Songs for Bass in a Comfortable Range, and Songs for Beginning Bass Voice. For 
the purposes of this document, Low Male Voice (LMV) will be now on defined as Mitton states in his 
document, “post-pubertal bass-baritones and basses whose general vocal range may reasonably span C
2-
F
4
with the understanding that individual LMVs may be able to sing lower/higher. LMVs may experience a 
secondo passaggio registration event, or ‘break in the region of C
4
-D
4
.”
2
Sandra Cotton points to voice classification as a “description of the capabilities and limitations of 
an instrument” and argues that while often in parallel it should not be held synonymous with the 
subcategorization of voice types found in Fach systems
3
. Various systems within the operatic world for 
labeling a voice take into considerations characteristics like range, tessitura, timbre, carrying power 
1
Daniel Mitton, “Sung Russian for the Low Male Voice Classical Singer: The Latent Pedagogical Value of 
Sung Russian” (D.M.A. diss., University of Toronto, 2020), 156-160, accessed September 1, 2020, 
https://search.proquest.com/pqdtglobal/docview/2421937479/3B1CB2873CDD4BD4PQ. 
2
Ibid., 22.
3
Sandra Cotton, “Voice classification and Fach: Recent, historical and conflicting systems of voice 
categorization” (D.M.A. diss., University of North Carolina at Greensboro, 2007), 2-3, accessed September 1, 2020, 
https://search.proquest.com/pqdtglobal/docview/304833358/736963C5105D48CDPQ. 
3
Sandra Cotton, “Voice classification and Fach: Recent, historical and conflicting systems of voice 
categorization” (D.M.A. diss., University of North Carolina at Greensboro, 2007), 77-78, accessed September 1, 
2020, https://search.proquest.com/pqdtglobal/docview/304833358/736963C5105D48CDPQ. 

---

14 
(resonance), as well as casting trends, and market expectations
4
. Additionally, these subcategories can 
exist for specific types of repertoire (such as basso buffo) or the specific national school and era of 
operatic composition (basso cantante, heldenbariton). Boldrey indicates that often multiple voice 
subclassifications may sing the exact same role
5
, leading to a current discussion of the fluidity of terms, 
which sends conflicting messages to today’s generation of singers about how to successfully prepare and 
market their vocal capabilities. For the purposes of this document, considerations of range, tessitura and 
timbre (vocal color) will be the primary determining factors for assessing repertoire suited for the bass-
baritone or bass voice.
Due to the nature of amplified musical theatre singing, vocal weight and resonance are not nearly 
as important in casting considerations as is the ability to authentically portray a character (which includes 
vocal facility within a role’s requirements). Heavier and lower-lying bass voices – those who with 
classical training might develop into a Basso profundo or Schwarzer Bass may struggle to a higher degree 
to find suitable material within the musical theatre canon than their lighter, higher-lying compatriots. 
Repertoire Selection Guidelines. Realizing that an analysis of tessitura is a subjective process, 
the following guidelines allow for an accelerated analysis of a wide range of material, while 
acknowledging that various vocal tract shaping practices may allow for singers to find freedom and 
increased stamina in higher ranges and registers. While extended ranges are at times expected for a bass-
baritone or bass performer in the musical theatre field, sustained singing above an F
4
should not be 
expected of an LMV without acknowledging the heightened probability of fatigue and stamina issues 
which could occur. 
Many of the following guidelines were determined after analyzing traits of LMV songs from the 
Golden Age of Musical Theatre through the 1980s, whose titles and related roles were found in annotated 
musical guides (see Table A.1). Published scores and show reference guides available online or in 
4
Ibid., 2-3. 
5
Richard Boldrey, Guide to Operatic Roles and Arias (Dallas: Pst … Inc., 1994), 7-9. 

---

15 
university libraries were also referred to vet previous voice type determinations and musical analysis.
Rent, and it’s production year of 1996, is used as a chronological post for “contemporary musical theatre” 
selections
—
not referencing a complete Broadway era, rather the near-past. This is due to its influence in 
re-determining the use of popular musical styles for market success, audience expectations, compositional 
practices and show influence in later modern productions. An analysis of 294 songs found in low-voice 
anthologies published in the last twenty years indicate that without transposition or modification of 
vocalism from convergent resonator, approximately twelve songs from shows between 1996 and present 
day would be appropriate to assign to bass or bass-baritone (see Appendix C), further solidifying an
argument for creating greater resources for these voice types. Below is Table 3.1., which summarizes 
research parameters for determining suitable LMV repertoire. 
Table 3.1. LMV Guidelines for Repertoire Selection in Contemporary Musical Theatre