Editing Baritone (section)

=== Baryton-Martin ===
The baryton-Martin baritone (sometimes referred to as light baritone)<ref>Tom Huizenga, [https://www.npr.org/blogs/deceptivecadence/2011/12/14/143706798/talk-like-an-opera-geek-breaking-down-baritones "Talk Like An Opera Geek: Breaking Down Baritones"] {{Webarchive|url=https://web.archive.org/web/20150507110610/http://www.npr.org/blogs/deceptivecadence/2011/12/14/143706798/talk-like-an-opera-geek-breaking-down-baritones |date=7 May 2015 }}, [[NPR]], 14 December 2011</ref> lacks the lower G<sub>2</sub>–B<sub>2</sub> range a heavier baritone is capable of, and has a lighter, almost tenor-like quality. Its common range is from C<sub>3</sub> to the B above middle C (C<sub>3</sub> to B<sub>4</sub>).<ref>[[John Warrack]] and Ewan West, ''The Oxford Dictionary of Opera'', 2nd edition, 1992. {{ISBN|0-19-869164-5}}</ref> Generally seen only in French repertoire, this ''[[Fach]]'' was named after the French singer [[Jean-Blaise Martin]]. Associated with the rise of the baritone in the 19th century, Martin was well known for his fondness for [[falsetto]] singing, and the designation 'baryton Martin' has been used (Faure, 1886) to separate his voice from the 'Verdi Baritone', which carried the chest register further into the upper range.<ref name=NGD /> This voice type shares the ''primo [[passaggio]]'' and ''secondo passaggio'' with the Dramatic Tenor and Heldentenor (C<sub>4</sub> and F<sub>4</sub> respectively), and hence could be trained as a tenor.

Baryton-Martin roles in opera:
*Aeneas, ''[[Dido and Aeneas]]'' ([[Henry Purcell|Purcell]])
*Dancaїre, ''[[Carmen]]'' ([[Georges Bizet|Bizet]])
*L'horloge comtoise, ''[[L'enfant et les sortilèges]]'' ([[Maurice Ravel|Ravel]])
*Orfeo, ''[[L'Orfeo]]'' ([[Claudio Monteverdi|Monteverdi]])
*Pelléas, ''[[Pelléas et Mélisande (opera)|Pelléas et Mélisande]]'' ([[Claude Debussy|Debussy]])
*Ramiro, ''[[L'heure espagnole]]'' (Ravel)