Kleos: the musical! (Concept album) ACT 1

Telemachus (Son of Odysseus and Penelope)

Telemachus begins as a hesitant, uncertain young man, but across the story, he grows into his role as heir of Ithaca. His voice should reflect that transformation.

Vocal Quality: A youthful tenor (or high baritone) — clear, searching, and slightly unsure at the start, then gaining steadiness and resonance as his confidence builds.

Tone: Earnest and questioning in Act I, with a slight tremble when he sings of his doubts; later, warmer, fuller, and commanding as he takes on his father’s mantle.

Range: Needs flexibility for lyrical, introspective ballads (about his father, his longing, his fears) and also enough power for stirring ensemble numbers where he rallies others or declares his growth.

Credit to Jorge Rivera-Herrans for the lines i will base on for Telemachus

The voice actor of Epic Telemachus won't affect this role, i am not looking for a too childish voice.

Antinous (Leader of the Suitors)

Antinous is arrogant, mocking, and dangerously persuasive. He represents greed and corruption, yet he must be charismatic enough to hold attention whenever he sings.

Vocal Quality: A rich baritone — darker, commanding, with a sharp edge that cuts through the ensemble. His voice should have swagger and weight, carrying menace even when he’s being charming.

Tone: Sarcastic and confident, often sneering in delivery. Where Telemachus’s tone rises with hope, Antinous’s stays grounded, heavy, and almost predatory.

Range: Strong mid- to lower-register presence, with the ability to push into more aggressive belts for intimidation or ensemble dominance.

Style: His songs should feel seductive at first — sly and smooth — but can shift to brash, rhythm-heavy declarations when his true cruelty shows. Great opportunity for patter-like, fast-paced sections where he mocks or manipulates others.

Again, credits to Jorge Rivera-Herrans

Athena (Goddess of Wisdom, Telemachus’s guide)

Athena’s voice must strike a balance between the ethereal and the commanding. She is divine, yet deeply invested in Telemachus’s growth — her presence should feel like both a distant star and a sword at his side.

Vocal Quality: Mezzo-soprano with a crystalline clarity, but also a metallic edge — as if her voice carries steel underneath silk. It should soar above the ensemble when needed, yet cut through with precision in dialogue-like sections.

Tone: Wise, steady, and purposeful. At times maternal, at others fierce and martial. When disguised as Mentor, her tone can shift slightly lower, more grounded, but still carries an unmistakable authority.

Range: Wide, able to handle both lyrical, almost hymn-like passages (prayerful or celestial) and forceful, declarative belts (commanding mortals and gods alike).

Style: Her songs often mix mystery and momentum. She might enter with ethereal motifs or harmonies (as if she’s woven into the music itself), but when guiding Telemachus, her lines should drive forward — urging him toward action.

AGAIN Credits to Jorge Rivera-Herrans

Penelope (Queen of Ithaca, Wife of Odysseus, Mother of Telemachus)

Penelope’s voice embodies endurance — sorrow carved into strength. She’s constantly under pressure from the suitors, yet she carries herself with grace and quiet defiance. Her songs should sound like the heart of Ithaca: patient, mournful, but unbroken.

Vocal Quality: Lyric soprano (or mezzo with a warm upper register) — rich, resonant, and emotive. Her voice should contrast Telemachus’s youth by bringing maturity and gravity.

Tone: Lyrical, aching, and dignified. At times fragile, as if her voice could break under grief, but ultimately layered with an iron steadiness when she defies the suitors or protects her son.

Range: Needs lyrical flexibility for laments and lullaby-like moments, but also strength to cut through ensemble scenes when asserting herself.

Style: Her solos should feel intimate and haunting — weaving themes of longing, weaving (literally, with her famous loom), and resilience. In Act III, her voice should rise in a cathartic swell, transforming sorrow into relief and recognition when Odysseus and Telemachus stand beside her again.

Credits to Jorge Rivera-Herrans 

THIS ROLE MAY BE TAKEN LATER BY THE CREATOR, SHE IS STILL THINKING ABOUT HER ROLE

Eurycleia (Loyal Nurse of Telemachus and Penelope)

Eurycleia’s voice embodies warmth, wisdom, and grounded authority. She is a maternal presence without being sentimental — her songs should feel like guidance, comfort, and quiet strength all at once.

Vocal Quality: Mezzo-soprano or contralto — warm, rich, and steady. Her voice should feel like a safe anchor amidst the chaos of the palace and the suitors’ schemes.

Tone: Calm, nurturing, but firm. She can sing with tenderness in intimate moments, yet carry gravitas when warning Telemachus or confronting the suitors.

Range: Medium; doesn’t need extreme highs or lows, but requires clarity and emotional resonance. Her power comes more from tone and phrasing than vocal acrobatics.

Style: Her songs are steady and lyrical, often slow or reflective, emphasizing wisdom over drama. She could have small motifs repeated throughout the musical — comforting refrains when Telemachus doubts himself, or solemn warnings when danger approaches.

I am not looking for anything specific for this one! Only females voices

I am looking for male voices, heavy one and probably serious, but nothing too specific.

Credits to Jorge Rivera-Herrans

I'm looking for anything!

Zeus (King of the Gods)

Zeus’s voice should carry authority that feels immovable, like thunder rumbling over the stage. He isn’t a character who sings often, but when he does, his presence must dominate — he is less “personal” than Athena, more a force of order and fate.

Vocal Quality: Bass or bass-baritone — resonant, booming, almost thunder-like. His lowest notes should feel like the ground shaking.

Tone: Majestic, commanding, detached. Not tender or intimate — when he speaks or sings, it’s law, not guidance.

Range: Strong in the low register, with enough top-end power to soar over a full ensemble if needed. His lines shouldn’t be ornate, but heavy, simple, and monumental.

Style: Recitative-like passages that feel like proclamations, with long, sustained notes (like held thunder). His motifs could echo storm imagery — timpani, brass, and deep strings underscoring him.