Bari-tenor

Baritenor (also rendered in English language sources as bari-tenor or baritenore) is a portmanteau (blend) of the words "baritone" and "tenor". It is used to describe both baritone and tenor voices. In Webster's Third New International Dictionary it is defined as "a baritone singing voice with virtually a tenor range". However, the term was defined in several late 19th century and early 20th century music dictionaries, such as The American History and Encyclopedia of Music, as "a low tenor voice, almost barytone" [sic].

Baritenor (or its Italian form, baritenore) is still used today to describe a type of tenor voice which came to particular prominence in Rossini's operas. It is characterized by a dark, weighty lower octave and a ringing upper one but with sufficient agility for coloratura singing. Rossini used this type of voice to portray noble (and usually older), leading characters, often in contrast to the higher, lighter voices of the tenore di grazia or the tenore contraltino who portrayed the young, impetuous lovers. An example of this contrast can be found in his Otello (1816), where the role of Otello was written for a baritenore (Andrea Nozzari), while the role of Rodrigo, his young rival for the affections of Desdemona, was written for a tenore di grazia (Giovanni David). Nozzari and David were paired again in Rossini's Ricciardo e Zoraide (1818), with a similar contrast in characters – Nozzari sang the role of Agorante, King of Nubia, while David portrayed the Christian knight, Ricciardo. Other notable baritenors of this period beside Nozzari were Gaetano Crivelli, Nicola Tacchinardi, Manuel García Sr. and Domenico Donzelli

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