Expert: Sean Martinfield - 12/8/2010

Question
QUESTION: Mr. Martinfield,

Been reading your advice and answers on this board for about a year now. I always find your responses enlightened and helpful. I'm writing today to inquire on your opinion about the practice of either transposing songs or changing character voice parts altogether to fit particular actors and actresses.

Do you subscribe to the philosophy that in the context of shows, solo song keys are not set in stone? How true is the statement I've heard that character voice parts are somewhat arbitrary and assigned to to fit the range of the role's originator? Do you believe in transposing songs when it comes to performance time to showcase the range of a singer? What about incidental alterations in harmony or melody according to a singer's ability, such as singing a different tone of a chord?

I know that's a lot of varied sub-questions. You'll of course feel free to address the ones to which you're inclined.

Many thanks,

Jerry



ANSWER: Hi, Jerry –

Thank you for the question.

Transposing material to suit the artist is what the music business is all about. It's the circumstance that dictates whether it's "correct" or not. The Classical world offers some clear opinions around the subject of "artistic license".

If you are referring to the Broadway world, there are a lot of variables. It all depends on the Producer and the celebrity performer. For example, the original performers in the 1992 London Opening and the 1954 New York Opening of KISS OF THE SPIDER WOMAN. In the title song, Chita Rivera – a true contralto – sings to Low C# . The sheet music is published in the key that she sang. Thus, "Original Key". Two years later, the song is hiked up for Vanessa Williams – who is so definitely a mezzo. Who cares? Williams is a hot commodity. The decision is perfect. The show makes a mint.

Another easy example is the 1951 film version of Jerome Kern's SHOW BOAT with Howard Keel and Kathryn Grayson. The role of the leading man, "Gaylord Ravenal", belongs to a tenor. Howard Keel is a baritone. Again, it's all about the Box Office. So, his solos were lowered and his harmonies adjusted. The end result is a film classic. Listen to the young Frank Sinatra sing "Ol' Man River" in the 1946 fictionalized film biography of the show's composer Jerome Kern, TILL THE CLOUDS ROLL BY. In context of the screenplay, the song is presented within a formal concert. Obviously, Mr. Sinatra is no Paul Robeson or William Warfield, nor will any amount of artistic license make him the right guy to play "Joe". But, his rendition of the song – in that elegant crooning manner – is stunning. Not going to happen in a community production. But it might happen for a headliner at a local cabaret.

As for changing notes – depends on the singer and the song. No matter the genre of music, if the optional ornamentations and note-changes prove to be distracting – i.e., sloppy musically or self-indulgent – then, No. Ick. It's really hard to get back in the mood and very easy to change the channel.

If you're talking Jazz, then you need first need to be the best musician on the block. Jazz vocalists prove themselves through smart arrangements and thrive on improvisations.

I hope this helps.

Best regards,
Sean Martinfield
http://www.sanfranciscosentinel.com/?p=96580

---------- FOLLOW-UP ----------

QUESTION: Mr. Martinfield,

Thanks very much for the insight. I'm wondering - As far as theatrical productions go, either Broadway or community, in what circumstances do you disagree with changing character voice parts? A few hypothetical transpositions:

- Audrey II in Little Shop of Horrors played by a tenor
- The title character of Sweeney Todd by a tenor
- Freddie (The American) in Chess as a baritone
- Sally Bowles in Cabaret by a soprano
- Collins in Rent by a bass
- Nancy in Oliver by a soprano
- Belle in Beauty and the Beast by an alto

I've heard folks justify transpositions or vocal miscasting by saying that "it's really more about the acting" or by saying that voice parts are arbitrary or that it's really about selling the show (hence "big name" actors cast against vocal range).

How do we walk the tightrope?

Answer
Hi, Jerry –

There is no tightrope. If the composer wanted another voice-type in the role, he or she would have written it that way. It's never just about "acting" and vocal categories are not arbitrary. The more you know about character "types" the better you will understand the relationship between them and vocal categories.
[See my review: WEST SIDE STORY – Most of it, anyway
http://www.sanfranciscosentinel.com/?p=93786 ]

With one exception, none of your above examples would work musically or theatrically. The role of "Collins" in RENT can easily be sung by the right bass – because it is within the range of a trained bass. With his lover, "Angel", the warmth of Collins' range is sexy, dominant, and comforting. His equivalent in Puccini's LA BOHEME, "Colline", is written for a bass.

Your job as a singer is to train according to your natural vocal category – especially if you are aiming toward Broadway or the Classics. My job as a professional vocal coach is to enable you to compete successfully and to prove yourself to the Musical Director.

Best regards,
Seán Martinfield
http://www.sanfranciscosentinel.com/?cat=65