Operaria Sopran 2

Classique

Contenu

Gluck: Qual vita / Che fiero momento (Euridice - Orfeo ed Euridice)
Mozart: Ruhe sanft (Zaide - Zaide)
Mozart: Giunse alfin il momento / Deh vieni non tardar (Susanna - Le nozze di Figaro)
Mozart: Ach, ich fühl's (Pamina - Die Zauberflöte)
Mozart: S'altro che lacrime (Servilia - La clemenza di Tito)
Beethoven: O wär' ich schon mit dir vereint (Marzelline - Fidelio)
Lortzing: Auf des Lebens raschen Wogen (Baronin - Der Wildschütz)
Bellini: Eccomi in lieta vesta / Oh! quante volte (Giulietta - I Capuleti e i Montecchi)
Flotow: Letzte Rose (Lady Harriet - Martha)
Mozart: Porgi amor (La Contessa - Le nozze di Figaro)
Mozart: E Susanna non vien! / Dove sono i bei momenti (La Contessa - Le nozze di Figaro)
Rossini: Sombre forêt (Mathilde - Guillaume Tell)
Verdi: Come in quest'ora bruna (Amelia - Simon Boccanegra)
Gounod: Que vois-je là ? / Ah ! je ris de me voir (Marguerite - Faust)
Offenbach: Elle a fui, la tourterelle ! (Antonia - Les Contes d'Hoffmann)
Smetana: Och, jaký žal! / Ten lásky sen (Marenka - Prodana nevesta)
Bizet: Je dis, que rien ne m'épouvante (Micaëla - Carmen)
Tschaikowsky: Scena pis'ma (Tatjana - Evgenij Onegin)
Leoncavallo: Qual fiamma / Stridono lassù (Nedda - I Pagliacci)
Puccini: Sì. Mi chiamano Mimì (Mimì - La bohème)
Puccini: Chi il bel sogno di Doretta (Magda - La rondine)
Charpentier: Depuis le jour (Louise - Louise)
Mascagni: Son pochi fiori (Suzel - L'amico Fritz)
Britten: Embroidery in childhood (Ellen Orford - Peter Grimes)

Description :

The OperAria repertoire collection for all voice genres that was successfully launched last year has produced lyrical soprano progeny: From Adele to Zerbinetta, from Pamina to Mimi and Ellen Orford - the first two (of altogether four) soprano volumes contain a representative sampling of important arias from the multifaceted lyrical repertoire. Classical audition arias can be found there, just as vocal gems from opera rarities and arias of classical modernity, each one obviously reliably and carefully edited. Accessorizing one's own lyrical voice, the singer will find a wealth of material such as: information on the composer, the librettist, the work, the vocal range, on questions concerning versions and scoring as well as on the storyline, along with instructive tips from a singer's viewpoint provided by experienced voice teachers and a Phonetics Text Assistant on CD-ROM with diverse possibilities of use. 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.