Alan J. Ord - Songs for Beginning Bass Voice: Selected Songs with an Annotated Guide
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Bass Alan Ord is a professor of voice and director of opera at the University of Alberta, Edmonton, Alberta, Canada. In addition, Dr. Ord has taught at the University of Connecticut, the University of Utah, and Brigham Young University. He earned his B.A. in voice from Brigham Young University, his Masters in voice from the Juilliard School, and his Doctor of Musical Arts in opera from the University of Southern California. Dr. Ord studied voice with Alexander Kipnis and Giorgio Tozzi. He is an active member of the National Association of the Teachers of Singing (NATS) and served as president of the Alberta North chapter from 1992-1995. As a performer, Dr. Ord has appeared as bass soloist in the United States and Canada in recital, concert, opera, on national radio and television, in plays, musicals, and is heard on several commercial opera recordings. He has performed as a soloist at Carnegie Hall, Alice Tully Hall, and Avery Fisher Hall in New York City and appeared in American opera premieres of works by Darius Milhaud and Richard Rodney Bennett. He has performed as a soloist under the baton of Leopold Stokowsky, Jean Morel, John Nelson, and Anton Guardagno and has appeared in opera under the direction of John Houseman, George London, Christopher West, Titto Capobianco, and Lofti Mansouri. He has appeared with such organizations as the American Opera Center, the Metropolitan Opera Studio, the American Opera Society, and the Edmonton Opera. In 1994 he completed his first book Songs for Bass Voice: An Annotated Guide to Works for Bass Voice, published by Scarecrow Press. An article of his, Songs for Young Bass Voice with a Limited Range , was published in the NATS Journal of Singing (Sept. 1995). Over the last few years he has lectured using slide presentations at local, regional, national, and international conferences of NATS and at several universities in the United States, England, and Canada on this subject.
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Along with a true tenor voice, a true bass voice is the pick of the litter for any university or college choral director or opera director. A relatively rare bird is he. The saying goes if you throw a rock into a crowd of men you will hit a baritone most of the time. You will hit a tenor and bass less often. There are fewer of them. Rarity sometimes breeds conceit but listen to this: In opera, basses rarely get the girl, usually play silly old men or priests, and get laughed at a fair bit, so there is little to be conceited about.
But what is a bass? Basses are called a lot of things in their singing lives but young bass voices are sometimes hard to recognize in the beginning stages of their development. Basses like any other voice can be mislabeled and in turn mistreated. A bass student of mine was told by a former teacher that he was a tenor. Fortunately, he had enough sense to find another teacher, pronto.
But what is a bass? To understand what a true bass voice is like let us first look at the mature bass voice and use it as the model. Once we have explored the realm of the fully developed bass voice, then we will be in a better position to address the issue of the young or beginning bass voice.
The mature bass voice comes in several different varieties. Over the years they have been classified in a number of ways into subcategories. Here are four common subcategories with corresponding well-known opera singers and appropriate operatic roles.
- Basso profondo (Low Bass): (Kurt Moll, Alexander Kipnis) Sarastro in The Magic Flute by Mozart
- Basso cantante (Singing or Lyric Bass): (Samuel Ramey, Ezio Pinza, Cesare Siepi) King Phillip in Don Carlo by Verdi
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