OperAria Baritone - Volume 2
Lyric-Dramatic
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- Composers: Giovanni Bottesini (1821-1889), Umberto Giordano (1867-1948), Ruggero Leoncavallo (1857-1919), Hector Berlioz (1803-1869), Giuseppe Verdi (1813-1901), Giacomo Meyerbeer (1791-1864), Engelbert Humperdinck (1854-1921), Vincenzo Bellini (1801-1835), Pyotr Ilyich Tchaikovsky (1840-1893), Georges Bizet (1838-1875), Gaetano Donizetti (1797-1848), Amilcare Ponchielli (1834-1886), Francesco Cilea (1866-1950), Jules Massenet (1842-1912), Giacomo Puccini (1858-1924), Jacques Offenbach (1819-1880), Franz Schreker (1878-1934)
- Editor: Peter Anton Ling
- Format: Vocal Score / CD
- Instrumentation (this edition): Piano Reduction, Baritone
- Originally for: Piano, Double Bass, Opera
- Work Languages: French, German, Italian, Russian
- ISMN:
- Size: 9.1 x 12.0 inches
- Pages: 152
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Description
"OperAria is a stroke of luck, the most up-to-date and complete material you need to be able to follow your dream profession as singer!" (Roman Trekel, Patron Baritone)
"It is my aim to give students a modern, systematically structured, well-informed vocal coach that meets the demands of present-day stage practice. And, of course, a cohesive repertoire and logical presentation of audition arias for every vocal genre." (Peter Anton Ling)
OperAria is the ideal "vocal coach" for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. in addition, through their careful selection, they offer valuable inspiration for opera recitals.
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) with comments on the arias
Works:
- Adamastor, roi des vagues profondes from Meyerbeer: L'Africaine
- Cruda, funesta smania from Donizetti: Lucia di Lammermoor, A. 46
- Donizetti: Nei miei superbi gaudi / Ah! de’ miei voti from Il duca d'Alba
- Sì, vincemmo, e il pregio io sento from Bellini: Il Pirata
- Qui m’accolse / Non son’ io from Bottesini: Fantasia on "Beatrice di Tenda"
- Or dove fuggo io mai / Ah! per sempre io ti perdei from Bellini: I Puritani
- Ah ! qui pourrait me résister ? from Berlioz: Benvenuto Cellini, H 76, Op. 23
- Tutto è deserto / Il balen del suo sorriso from Verdi: Il Trovatore
- Di Provenza il mar from Verdi: La Traviata
- Sacra la scelta from Verdi: Luisa Miller
- Alzati! / Eri tu che macchiavi quell’anima from Verdi: Un ballo in maschera (A Masked Ball)
- Son io, mio Carlo / Per me giunto – O Carlo, ascol from Verdi: Don Carlos
- Scintille, diamant from Offenbach: Les contes d'Hoffmann (The Tales of Hoffmann)
- Ah! Pescator, affonda l’esca from Ponchielli: La Gioconda
- Votre toast, je peux vous le rendre from Bizet: Carmen
- Vy mne pisali / Kogda by žizn’ domašnim krugom from Tchaikovsky: Yevgeny Onegin (Eugene Onegin), ČW 5, Op. 24
- Tchaikovsky: O, Marija, Marija! from Mazeppa
- Kto možet sravnit’sja s Matil’doj moej from Tchaikovsky: Iolanta (Иоланта), ČW 11, Op. 69
- Vision fugitive from Massenet: Hérodiade
- Voilà donc la terrible cité ! from Massenet: Thaïs, DO 24
- Rallalala / Ach, wir armen, armen Leute from Humperdinck: Hänsel and Gretel
- Zazà, piccola zingara from Leoncavallo: Zazà
- No! possibil non è / Anima santa from Puccini: Le Villi, SC 60
- Cilea: Minni, dalla mia casa son partito from L'Arlesiana
- Nemico della patria?! from Giordano: Andrea Chenier
- Schreker: In einem Lande ein bleicher König from Der ferne Klang
- Minni, dalla mia casa son partito from Puccini: La fanciulla del West, SC 78
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.