OperAria Alto
Repertoire Collection
[A,pno]
Description
“Our goal is to give the user a modern-day, systematically structured vocal coach that 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, editor)
OperAria is a comprehensive repertoire anthology of opera arias for all vocal genres from soprano to bass. Although developed mainly for use in university-level studies and theatrical auditions, the collection does also target singers who are already professionally active as well as anyone involved in vocal pedagogy.
The selection of arias from three centuries of classical opera repertoire was made according to vocal criteria, while taking into account practical aspects of a musical and theatrical nature. In addition, it offers valuable inspiration for opera recitals.
The subdivision of the arias into the lyric, lyric–dramatic, and dramatic categories is conceived as a means of orientation; it suggests a direction, but leaves enough room to showcase the individuality of the various types of voices and roles.
The crucial asset of OperAria over comparable repertoire anthologies is its additional function as an up-to-date VocalCoach. The following extras are included:
- Detailed commentary section
All volumes provide in the individual comments on the arias information on the composer, the work and on peculiarities such as matters of versions or casting. Also included is a short synopsis of the contents in which the aria is embedded in the context of the opera’s plot. Furthermore, there are methodical comments from the singer’s point of view as recommendation from someone who has both stage and academic teaching experience. - Phonetic assistant
As a further study tool, audio files (mp3) with aria texts spoken by native speakers are available. - Text assistant
For a more thorough understanding of the aria contents, the text assistant provides text files (pdf) in German and English translation.
Both the phonetics assistant and the text assistant are available as downloads at www.breitkopf.com.
The present volume (OperAria Alto, EB 8873) contains a representative cross-section of the repertoire for alto. 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. Only the voice needs to do its bit. Toi, toi, toi!
EB 8873
EAN: 9790004184639
144 pages / 23 x 30.5 cm / 549 g / softbound
Description
Description
“Our goal is to give the user a modern-day, systematically structured vocal coach that 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, editor)
OperAria is a comprehensive repertoire anthology of opera arias for all vocal genres from soprano to bass. Although developed mainly for use in university-level studies and theatrical auditions, the collection does also target singers who are already professionally active as well as anyone involved in vocal pedagogy.
The selection of arias from three centuries of classical opera repertoire was made according to vocal criteria, while taking into account practical aspects of a musical and theatrical nature. In addition, it offers valuable inspiration for opera recitals.
The subdivision of the arias into the lyric, lyric–dramatic, and dramatic categories is conceived as a means of orientation; it suggests a direction, but leaves enough room to showcase the individuality of the various types of voices and roles.
The crucial asset of OperAria over comparable repertoire anthologies is its additional function as an up-to-date VocalCoach. The following extras are included:
- Detailed commentary section
All volumes provide in the individual comments on the arias information on the composer, the work and on peculiarities such as matters of versions or casting. Also included is a short synopsis of the contents in which the aria is embedded in the context of the opera’s plot. Furthermore, there are methodical comments from the singer’s point of view as recommendation from someone who has both stage and academic teaching experience. - Phonetic assistant
As a further study tool, audio files (mp3) with aria texts spoken by native speakers are available. - Text assistant
For a more thorough understanding of the aria contents, the text assistant provides text files (pdf) in German and English translation.
Both the phonetics assistant and the text assistant are available as downloads at www.breitkopf.com.
The present volume (OperAria Alto, EB 8873) contains a representative cross-section of the repertoire for alto. 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. Only the voice needs to do its bit. Toi, toi, toi!
Table of contents
| 1. | Ahimè! Dove trascorsi? / Che farò senza Euridice | (Orfeo – Orfeo ed Euridice) |
| 2. | Va, l’error mio palesa | (Farnace – Mitridate) |
| 3. | Ah giacché son tradito / Son reo | (Farnace – Mitridate) |
| 4. | Perché tacer degg’io? / Cara, lontano ancora | (Ascanio – Ascanio in Alba) |
| 5. | Ah ! mon fils | (Fidès – Le prophète) |
| 6. | Ah! quel giorno ognor rammento | (Arsace – Semiramide) |
| 7. | In sì barbara sciagura | (Arsace – Semiramide) |
| 8. | Cruda sorte! | (Isabella – L’italiana in Algeri) |
| 9. | Mura felici / Oh quante lagrime | (Malcolm – La donna del lago) |
| 10. | Ballade vom Jäger Herne | (Frau Reich – Die lustigen Weiber von Windsor) |
| 11. | Weiche, Wotan, weiche! | (Erda – Das Rheingold) |
| 12. | Höre mit Sinn | (Waltraute – Götterdämmerung) |
| 13. | Re dell’abisso affrettati | (Ulrica – Un ballo in maschera) |
| 14. | Voce di donna | (La Cieca – La Gioconda) |
| 15. | Samson, recherchant ma présence | (Dalila – Samson et Dalila) |
| 16. | Mon cœur s’ouvre à ta voix | (Dalila – Samson et Dalila) |
| 17. | Gadan’e | (Marfa – Chovanš?ina) |
| 18. | Ach, Tanja, Tanja! | (Olga – Evgenij Onegin) |
| 19. | Johannes schläft | (Magdalena – Der Evangelimann) |
| 20. | Voici ce qu’il écrit à son frère Pelléas | (Geneviève – Pelléas et Mélisande) |
| 21. | Daphne! Wir warten dein | (Gaea – Daphne) |
| 22. | As I was saying | (Baba the Turk – The Rake’s Progress) |
| 23. | Was für ein Lärm | (Bernarda – Bernarda Albas Haus) |
