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Description
OperAria Mezzo-soprano - Volume 2 - DramaticComposers: Benjamin Britten (1913 1976), Richard Strauss (1864 1949), Giuseppe Verdi (1813 1901), Antonn Dvok (1841 1904), Richard Wagner (1813 1883), Pyotr Ilyich Tchaikovsky (1840 1893), Georges Bizet (1838 1875), Gaetano Donizetti (1797 1848), Pietro Mascagni (1863 1945), Francesco Cilea (1866 1950), Amilcare Ponchielli (1834 1886), Jules Massenet (1842 1912), Charles Gounod (1818 1893) Editors: Peter Anton Ling, Marina Sandel Format: Vocal Score
- Composers: Benjamin Britten (1913-1976), Richard Strauss (1864-1949), Giuseppe Verdi (1813-1901), Antonín Dvořák (1841-1904), Richard Wagner (1813-1883), Pyotr Ilyich Tchaikovsky (1840-1893), Georges Bizet (1838-1875), Gaetano Donizetti (1797-1848), Pietro Mascagni (1863-1945), Francesco Cilea (1866-1950), Amilcare Ponchielli (1834-1886), Jules Massenet (1842-1912), Charles Gounod (1818-1893)
- Editors: Peter Anton Ling, Marina Sandel
- Format: Vocal Score
- Instrumentation (this edition): Piano Reduction, Mezzo Soprano
- Originally for: Opera
- Work Languages: Czech, English, French, German, Italian
- ISMN:
- Size: 9.1 x 12.0 inches
- Pages: 152
Description
Whether the voice is lyric light or heavy, whether it can master coloratura, perhaps even has dramatic potential – in the OperAria mezzo-soprano and alto volumes, singers with a deeper voice and a special talent for the trouser role through to the heroine find everything they need for their performance. Throbbing of the heart? Yes, that's simply part of the game! Feeling nervous? No, because actually nothing can go wrong with OperAria. The best vocal coach for auditions and current theatre practice. Only the voice needs to do its bit. Toi, toi, toi!
OperAria – repertoire anthology of opera arias according to vocal criteria (range, tessitura, specifics, type of aria) with due regard to practical aspects of musical and theatrical nature (style, era, role type, national provenance). Includes comments on the arias, information on the composer, the librettist, the work, the range and of versions or casting, a short synopsis of the contents illuminating the basic dramatic constellation in the context of the opera's plot, and an evaluation from the singer's point of view.
"Our goal is to give the user a modern-day, systematically structured vocal coach who satisfies the demands of present-day theater practice. At long last a consistent repertoire and a well-ordered conflation of respective audition arias for all vocal genres." (Peter Anton Ling and Marina Sandel, editors)
Works:
- Donizetti: Fia dunque vero / O mio Fernando from La favorite, A. 58
- Wagner: Entweihte Götter! from Lohengrin, WWV 75
- Wagner: Einsam wachend in der Nacht from Tristan and Isolde, WWV 90
- Wagner: Wo in Bergen du dich birgst from Die Walküre, WWV 86B
- Verdi: Stride la vampa from Il Trovatore
- Verdi: Condotta ell’era in ceppi from Il Trovatore
- Verdi: Nei giardin del bello from Don Carlos
- Verdi: O don fatale from Don Carlos
- Verdi: Al suon del tamburo from La Forza del Destino
- Verdi: Rataplan from La Forza del Destino
- Gounod: Me violà seule enfin / Plus grand, dans son obscur from La reine de Saba
- Ponchielli: Ho il cor gonfio di lagrime / Stella del marinar! from La Gioconda
- Bizet: Quand je vous aimerai ? / L’amour est un oiseau re from Carmen
- Bizet: Près des remparts de Séville from Carmen
- Bizet: Voyons, que j’essaie / En vain pour éviter from Carmen
- Tchaikovsky: Oui, Dieu le veut! / Adieu, forêts from The Maid of Orleans, ČW 6
- Dvořák: Aj, aj, už jsi se navrátila? from Rusalka, B. 203, Op. 114
- Massenet: Venge-moi / Hérode! Ne me refuse pas from Hérodiade
- Massenet: Repose, ô belle amoureuse from Le roi de Lahore
- Mascagni: Voi lo sapete, o mamma from Cavalleria Rusticana
- Cilea: Acerba voluttà from Adriana Lecouvreur
- Strauss: Ich habe keine guten Nächte from Elektra, TrV 223, Op. 58
- Strauss: Hab Erbarmen! from Die Frau ohne Schatten, TrV 234, Op. 65
- Britten: Give him this orchid from The Rape of Lucretia, Op. 37
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