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Description
OperAria Mezzo-soprano - Volume 1 - LyricComposers: Wolfgang Amadeus Mozart (1756 1791), Johann Strauss II (1825 1899), Richard Strauss (1864 1949), Ambroise Thomas (1811 1896), Giacomo Meyerbeer (1791 1864), Gioachino Rossini (1792 1862), Pietro Mascagni (1863 1945), Gaetano Donizetti (1797 1848), Charles Gounod (1818 1893), Jules Massenet (1842 1912), Jacques Offenbach (1819 1880), Vincenzo Bellini (1801 1835) Editors: Peter Anton Ling, Marina Sandel Format: Vocal Score Instrumentation
- Composers: Wolfgang Amadeus Mozart (1756-1791), Johann Strauss II (1825-1899), Richard Strauss (1864-1949), Ambroise Thomas (1811-1896), Giacomo Meyerbeer (1791-1864), Gioachino Rossini (1792-1862), Pietro Mascagni (1863-1945), Gaetano Donizetti (1797-1848), Charles Gounod (1818-1893), 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 Il barbiere di Siviglia (The Barber of Seville)
- 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
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