Abstract: The subject of this study is the opera art of the early 19th century. The object of the study is the work of the first operatic baritones of that period. The period of the era of early romanticism is covered in the works of Russian and foreign musicologists O.V. Zhestkova, L.A. Sadykova, A.V. Denisova, I.P. Drach, A.E. Hoffmann, E.R. Simonova, S.V. Reshetnikova, A. Jacobshagen, D. Marek, J. Potter, J. Stark, S. Caruselli, J. Riggs, J. Rosselli and many others. However, the above-mentioned works are mainly devoted to the study of operatic performance by tenors and sopranos. The issues of the formation of performing traditions and the roles of baritones of the early 19th century were not considered in them. Thus, the period of origin of this voice type has remained poorly studied, which indicates the novelty of this research. The relevance of the study is due to the interest of modern performers in the repertoire of the first baritones, including Antonio Tamburini, Luigi Zamboni and others. And also the lack of knowledge of the evolutionary processes that occurred in baritone art at the beginning of the 19th century. In this work, historical and theoretical research methods predominate. The conclusions of this study are as follows: the work of the first baritones of the early 19th century is characterized, the main aspects of their performing creativity are identified and the roles in which they performed are indicated.

Abstract: The 19th century gave the world many talented opera performers, each of whom had his own artistic charisma and unique style of vocal performance. One of these singers was the bass-baritone Antonio Tamburini, a master of interpretation of the roles of Gioacchino Rossini, Vincenzo Bellini, Gaetano Donizetti, Saverio Mercadante, Giovanni Paccini, Carlo Coccia and Wolfgang Amadeus Mozart. The subject of the research is the work of the early 19th century operatic baritone Antonio Tamburini. The object of the study is the opera parts performed by Tamburini over the years of work in theaters. The relevance of the study is due to the role of Antonio Tamburini in the formation and development of the baritone art at the beginning of the 19th century, as well as the lack of knowledge of the processes that took place in opera art in the era of early romanticism. This period is covered in the musicological works of O.V. Zhestkovoy, L.A. Sadykova, I.P. Drach, G. Potter, A. Jacobshagen, J. Stark, A.E. Hoffmann, S.V. Reshetnikova, however, the mentioned works are mainly devoted to the study of the operatic performance of tenors and sopranos. The period of the birth of baritone performance was not considered in the above works, and the work of Antonio Tamburini remained unexplored, which indicates the undoubted novelty of the work. The article focuses on primary sources: the singer's creative biography, described by the 19th century music critic Castile-Blaz, contemporaries' reviews of Antonio Tamburini's stage performances. The work is dominated by historical and theoretical research methods. The main conclusion of the work is to identify the main aspects of the performing style of Antonio Tamburini, revealing the secret of the uniqueness of his art.