OperAria Mezzo-soprano - Volume 2 - Dramatic
Expected to ship in 1-2 weeks.
- 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), Amilcare Ponchielli (1834-1886), Pietro Mascagni (1863-1945), Gaetano Donizetti (1797-1848), Francesco Cilea (1866-1950), Georges Bizet (1838-1875), 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:
- Fia dunque vero / O mio Fernando from Donizetti: La favorite, A. 58
- Entweihte Götter! from Wagner: Lohengrin, WWV 75
- Einsam wachend in der Nacht from Wagner: Tristan and Isolde, WWV 90
- Wo in Bergen du dich birgst from Wagner: Die Walküre, WWV 86B
- Stride la vampa from Verdi: Il Trovatore
- Condotta ell’era in ceppi from Verdi: Il Trovatore
- Nei giardin del bello from Verdi: Don Carlos
- O don fatale from Verdi: Don Carlos
- Al suon del tamburo from Verdi: La Forza del Destino
- Rataplan from Verdi: La Forza del Destino
- Gounod: Me violà seule enfin / Plus grand, dans son obscur from La reine de Saba
- Ho il cor gonfio di lagrime / Stella del marinar! from Ponchielli: La Gioconda
- Quand je vous aimerai ? / L’amour est un oiseau re from Bizet: Carmen
- Près des remparts de Séville from Bizet: Carmen
- Voyons, que j’essaie / En vain pour éviter from Bizet: Carmen
- Oui, Dieu le veut! / Adieu, forêts from Tchaikovsky: The Maid of Orleans, ČW 6
- Aj, aj, už jsi se navrátila? from Dvořák: Rusalka, B. 203, Op. 114
- Venge-moi / Hérode! Ne me refuse pas from Massenet: Hérodiade
- Repose, ô belle amoureuse from Massenet: Le roi de Lahore
- Voi lo sapete, o mamma from Mascagni: Cavalleria Rusticana
- Acerba voluttà from Cilea: Adriana Lecouvreur
- Ich habe keine guten Nächte from Strauss: Elektra, TrV 223, Op. 58
- Strauss: Hab Erbarmen! from Die Frau ohne Schatten, TrV 234, Op. 65
- Give him this orchid from Britten: The Rape of Lucretia, Op. 37
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.