OperAria Bass - Volume 2 - Lyric Dramatic

SKU: EB8881

Expected to ship in 1-2 weeks.

  • Composers: Modest Mussorgsky, Arrigo Boito, Wolfgang Amadeus Mozart, Otto Nicolai, Richard Strauss, Giuseppe Verdi, Friedrich von Flotow, Ludwig van Beethoven, Richard Wagner, Pyotr Ilyich Tchaikovsky, Gioachino Rossini, Gaetano Donizetti, Charles Gounod, Jules Massenet
  • Editor: Peter Anton Ling
  • Format: Vocal Score
  • Instrumentation (this edition): Piano Reduction, Bass
  • Originally for: Opera
  • Work Languages: French, German, Italian, Russian, Russian (Cyrillic)
  • ISMN: 9790004184714
  • Size: 9.1 x 12.0 inches
  • Pages: 120

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The OperAria repertoire anthology was much applauded when it came on stage with three baritone volumes in 2015. The successful baritone debut was followed in 2017/18 by the appearance of the four soprano volumes, also conquering hearts in no time. Now, another performance: The curtain rises on the bass volumes, the foundation of the vocal family for heavier, darker voices, though nevertheless brilliant and full of radiance. The protagonists have such well-known names as Bartolo, Don Basilio, Colline, Don Pasquale, Falstaff, Figaro, Kecal, Osmin, Sarastro. Other heroes less often in the limelight, such as Dulcamara, Sancho Pansa, Phanuel, and Sir Morosus, can certainly also count on much applause.

"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.

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.


  • Mozart: Wer ein Liebchen hat gefunden from The Abduction from the Seraglio, K. 384
  • Mozart: O, wie will ich triumphieren from The Abduction from the Seraglio, K. 384
  • Mozart: La vendetta from Le nozze di Figaro (The Marriage of Figaro), K. 492
  • Mozart: O Isis und Osiris from Die Zauberflöte (The Magic Flute), K. 620
  • Mozart: In diesen heil’gen Hallen from Die Zauberflöte (The Magic Flute), K. 620
  • Beethoven: Hat man nicht auch Gold beineben from Fidelio, Op. 72
  • Rossini: La calunnia from The Barber of Seville (Il barbiere di Siviglia)
  • Rossini: Eterno! immenso! / Celeste man placata! from Mosè in Egitto
  • Donizetti: Vieni! la mia vendetta / Qualunque sia l’evento from Lucrezia Borgia, A. 41
  • O. Nicolai: Als Büblein klein from Die lustige Weiber von Windsor (The Merry Wives of Windsor)
  • Flotow: Lasst mich euch fragen from Martha (Der Markt Zu Richmond) (1847)
  • Wagner: Mögst du, mein Kind from Der fliegende Holländer (The Flying Dutchman), WWV 63
  • Wagner: Das schöne Fest, Johannistag from Die Meistersinger von Nürnberg, WWV 96
  • Verdi: Ella giammai m’amò! / Dormirò sol from Don Carlos
  • Verdi: Studia il passo / Come dal ciel precipita from Macbeth
  • Gounod: Vous qui faites l’endormie from Faust
  • Gounod: Que les songes heureux from Philémon et Baucis, CG 4
  • Mussorgsky: Kak vo gorode bylo vo Kazani from Boris Godunov (Борис Годунов), Op. 9
  • Tchaikovsky: Ljubvi vse vozrasty pokorny from Yevgeny Onegin (Eugene Onegin), ČW 5, Op. 24
  • Boito: Ecco il mondo from Mefistofele
  • Massenet: Dors, ô cité perverse! from Hérodiade
  • Strauss: Wie schön ist doch die Musik from Die schweigsame Frau, TrV 265, Op. 80

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