Una voce poco profonda: Curtain up for Trouser Roles and Heroines

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, thats 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!

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)

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)

with 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 operas plot
• an evaluation from the singers point of view

with phonetic assistant and text assistant

• aria texts in the original language spoken by native speakers as an audio file (mp3)
• aria texts in German and English translations as a text file (pdf)
  

  Pieces

  • Gluck: Ahim! Dove trascorsi? / Che far senza Euridice from Orfeo ed Euridice (Italian Version), Wq. 30
  • Mozart: Va, lerror mio palesa from Mitridate, Re di Ponto, K. 87 (74a)
  • Mozart: Ah giacch son tradito / Son reo from Mitridate, Re di Ponto, K. 87 (74a)
  • Mozart: Perch tacer deggio? / Cara, lontano ancora from Ascanio in Alba, K. 111
  • Meyerbeer: Ah ! mon fils from Le prophte
  • Rossini: Ah! quel giorno ognor rammento from Semiramide
  • Rossini: In s barbara sciagura from Semiramide
  • Rossini: Cruda sorte! from L’Italiana in Algeri
  • Rossini: Mura felici / Oh quante lagrime from La donna del lago
  • O. Nicolai: Ballade vom Jger Herne from Die lustige Weiber von Windsor (The Merry Wives of Windsor)
  • Wagner: Weiche, Wotan, weiche! from Das Rheingold, WWV 86a
  • Wagner: Hre mit Sinn from Gtterdmmerung, WWV 86D
  • Verdi: Re dellabisso affrettati from Un ballo in maschera (A Masked Ball)
  • Ponchielli: Voce di donna from La Gioconda
  • Saint-Sans: Samson, recherchant ma prsence from Samson and Delilah, Op. 47
  • Saint-Sans: Mon cur souvre ta voix from Samson and Delilah, Op. 47
  • Mussorgsky: Gadane from Khovanshchina ()
  • Tchaikovsky: Ach, Tanja, Tanja! from Yevgeny Onegin (Eugene Onegin), W 5, Op. 24
  • Kienzl: Johannes schlft from Der Evangelimann
  • Debussy: Voici ce quil crit son frre Pellas from Pellas et Mlisande, CD 93, L 88
  • Strauss: Daphne! Wir warten dein from Daphne, Op. 82
  • Stravinsky: As I was saying from The Rake’s Progress (1951)
• Reimann: Was fr ein Lrm from Bernarda Albas Haus

  Composers: Modest Mussorgsky, Camille Saint-Sans, Otto Nicolai, Wolfgang Amadeus Mozart, Richard Strauss, Wilhelm Kienzl, Giuseppe Verdi, Giacomo Meyerbeer, Claude Debussy, Richard Wagner, Aribert Reimann, Pyotr Ilyich Tchaikovsky, Gioachino Rossini, Amilcare Ponchielli, Igor Stravinsky, Christoph Willibald Gluck

Editors: Peter Anton Ling, Marina Sandel

Format: Vocal Score

Instrumentation (this edition):Piano Reduction, Alto

Originally for:Opera

Work Language:German

ISMN:9790004184639

Size:9.1x12.0inches

Pages: 144