3 syllables: Pri, mo Uo, mo. Stress on Pri.
pree-moh-WAW-moh
/ˈprimo ˈwɔmo/
Primo Uomo is pronounced pree-moh-WAW-moh (/ˈprimo ˈwɔmo/). It has three syllables (Pri-mo Uo-mo), with the stress on "Pri". Primo Uomo is an Italian noun meaning the lead male singer in an opera, or more broadly the principal male performer. It denotes the top or first-prize male role in a production, often contrasted with the seconda voce. In English contexts, it’s used to refer to a premiere male soloist or the foremost male performer in a group.
nounPrimo Uomo is an Italian noun meaning the lead male singer in an opera, or more broadly the principal male performer. It denotes the top or first-prize male role in a production, often contrasted with the seconda voce. In English contexts, it’s used to refer to a premiere male soloist or the foremost male performer in a group.
"The prima donna and primo uomo commanded the stage with radiant vocal lines."
"In that opera, the primo uomo delivered the climactic aria with flawless diction."
"The conductor acknowledged the primo uomo’s stamina after a three-hour performance."
Pronounce as PRY-mo OH-mo with the stress on the first syllable of Primo and a short, rounded vowel in Uomo. IPA: US /ˈpriːmoʊ ˈuːmoʊ/, UK /ˈpriːmə ˈjuːmə/. In careful speech, both vowels in Uomo are stressed lightly; the second word rhymes with “you-mo.” To practice, emphasize the two-syllable Primo and keep the second word’s first vowel long but not overextended. Audio guidance: listen to operatic clips labeled ‘Primo Uomo’ and imitate the cadence.
Common errors: 1) Pronouncing Primo as PRIH-mo with a reduced vowel; correct is PRY-mo with a longer /iː/. 2) Treating Uomo as OO-mo with a silent or weak final /o/; correct is /ˈuː-moʊ/ with a clear final /oʊ/. 3) Dropping the second syllable stress in Primo; keep the primary stress on the first syllable. Corrections: practice with minimal pairs: PRY-mo /ˈpriːmoʊ/ vs PRA-mo /ˈpræmoʊ/; for Uomo, focus on full /ˈuː-moʊ/. Use lip rounding and jaw relaxation to mirror native Italian rhythm.
US: /ˈpriːmoʊ ˈuːmoʊ/ with clear rhoticity on Primo; UK: /ˈpriːmə ˈjuːmə/ reducing the second syllable and slightly closer front vowel in Primo; AU: /ˈpriːmə ˈjuːmə/ similar to UK but with broader vowels; note rhoticity is less pronounced in non-rhotic varieties, making the first syllable less rhotic. In all, the second word Uomo maintains /ˈuː-moʊ/ in most accents. Listen to Italian speakers to catch the Italian cadence when used in English commentary.
The difficulty lies in Italian syllable timing and rounded vowels. Primo has long /iː/ and a diphthong in English-like /oʊ/; in Italian, vowels are pure and evenly stressed, which clashes with English stress patterns. Uomo presents a final /oʊ/ that can drift toward a shorter /o/ in fast speech, and the sequence requires careful jaw positioning to avoid conflating with ‘Uomo’ as a single syllable. Mastery comes from practicing Italian-like vowel clarity and maintaining correct word-boundary stress.
The phrase combines a strong Italian stress on Primo with a secondary name-like Uomo. The mouth positions involve a higher front vowel in Primo and a rounded back vowel in Uomo. The interplay of long vowels and the two-word cadence makes the phrase sound distinctly Italian even when spoken in English contexts. Ensure you articulate the two words with clear boundaries, emphasizing Primo first, then Uomo, to avoid blending them.
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Primo comes from Italian primo, meaning first or foremost, from late Latin primus. Uomo is Italian for man. The term emerged in Italian opera houses of the 17th–19th centuries to designate the lead male singer, paralleling the prima donna for the lead female. Early usage often appeared as two-part labels: primo uomo and seconda donna, though in English-language program notes it gradually anglicized to Primo Uomo as a fixed phrase. The concept reflects the operatic hierarchy where the prima donna and primo uomo share center-stage responsibility in arias, ensembles, and finales. The phrase spread through scholarly and dramaturgical writing in the 19th and 20th centuries, especially in discussions of canonical roles and star performers. Today, primo uomo remains a niche but recognized label in reviews, translations, and program notes, signifying stature, vocal prowess, and dramatic leadership within the performance. The term’s resonance is closely tied to opera’s tradition of gendered lead roles, with the audience’s expectation anchored in the duet of top male and top female principals.
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Words that rhyme with "Primo Uomo"
-omo sounds
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