OperAria Mezzo-soprano - Volume 1 - Lyric
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- Composers: Johann Strauss II (1825-1899), Wolfgang Amadeus Mozart (1756-1791), Richard Strauss (1864-1949), Ambroise Thomas (1811-1896), Giacomo Meyerbeer (1791-1864), Gioachino Rossini (1792-1862), Charles Gounod (1818-1893), Gaetano Donizetti (1797-1848), Pietro Mascagni (1863-1945), Jules Massenet (1842-1912), Jacques Offenbach (1819-1880), Vincenzo Bellini (1801-1835)
- Editors: Peter Anton Ling, Marina Sandel
- Format: Vocal Score
- Instrumentation (this edition): Piano Reduction, Mezzo Soprano
- Originally for: Opera
- Work Languages: French, German, Italian
- ISMN:
- Size: 9.1 x 12.0 inches
- Pages: 132
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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:
- Mozart: Non so più cosa son, cosa faccio from Le nozze di Figaro (The Marriage of Figaro), K. 492
- Mozart: Voi che sapete from Le nozze di Figaro (The Marriage of Figaro), K. 492
- Mozart: Ah scostati / Smanie implacabili from Così fan tutte, K. 588
- Meyerbeer: Nobles seigneurs, salut! from Les Huguenots
- Rossini: Una voce poco fa from The Barber of Seville (Il barbiere di Siviglia)
- Rossini: Nacqui all’affanno / Non più mesta from La Cenerentola (Cinderella)
- Rossini: O patria! / Di tanti palpiti from Tancredi
- Donizetti: È sgombro il loco / Un bacio ancora from Anna Bolena, A. 30
- Bellini: Ascolta! Se Romeo t’uccise un figlio from I Capuleti e i Montecchi
- Bellini: Dopo l’oscuro nembo from Adelson e Salvini
- A. Thomas: Connais-tu le pays from Mignon
- A. Thomas: C’est moi / Me voici dans son boudoir from Mignon
- Gounod: Faites-lui mes aveux from Faust, CG 4
- Offenbach: Vois sous l’archet frémissant from Les contes d'Hoffmann (The Tales of Hoffmann)
- Offenbach: Vous aimez le danger / Ah! que j’aime les militair from La Grande-Duchesse de Gérolstein
- J. Strauss II: Ich lade gern mir Gäste ein from Die Fledermaus
- Mozart: Parto, ma tu ben mio from La clemenza di Tito, K. 621
- Mozart: Deh per questo istante solo from La clemenza di Tito, K. 621
- Massenet: Werther! Werther! from Werther
- Massenet: Va! laisse couler mes larmes from Werther
- Mascagni: Buon giorno, Fritz! / O pallida from L'amico Fritz
- Strauss: Wie du warst! from Der Rosenkavalier, TrV 227, Op. 59
- Strauss: Sein wir wieder gut from Ariadne auf Naxos, TrV 228, Op. 60
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.