This authoritative, new edition of the world's most loved songs and arias draws on original manuscripts, historical first editions and recent research by prominent musicologists to meet a high standard of accuracy and authenticity. Includes fascinating background information about the arias and their composers as well as a singable rhymed translation, a readable prose translation and a literal translation of each single Italian word.
This classic text, first published in 1972, has withstood the test of time as a teaching aid for English-speaking singers, teachers, coaches, and accompanists, in order that their art may be more communicative to the public. These word-by-word translations of songs and arias allow the artist to properly interpret and express the feelings and emotions that the words require at the proper time.
A sampling of the world's greatest Baroque and Classical arias. In addition to offering fascinating background information about the arias and their composers, the editor has corrected a multitude of errors which have accumulated over time, and has replaced Romantic-era misinterpretations with accompaniments that are faithful to historical styles. Includes word-by-word transcriptions into the International Phonetic Alphabet.
(Vocal Collection). Contents: Handel: V'adoro pupille (Giulio Cesare) Mozart: Porgi, amor (Le Nozze di Figaro) * Dove sono (Le Nozze Figaro) * Deh vieni, non tardar (Le Nozze di Figaro) * Bester Jungling (Der Schauspieldirektor) * Batti, batti, bel Masetto (Don Giovanni) * Vedrai carino (Don Giovanni) * Ach, ich fuhl's (Die Zauberflote) Beethoven: O war' ich schon mit dir vereint (Fidelio) C.M. von Weber: Kommt ein schlanker Bursch gegangen (Der Freischutz) Verdi: Caro nome (Rigoletto) * Saper vorreste (Un Ballo in Maschera) * Sul fil d'un soffio etesio (Falstaff) Gounod: The Jewel Song (Faust) * Ah! Je veux vivre (Romeo et Juliette) Bizet: Je dis que rien ne m 'epouvante (Carmen) Offenbach: Elle a fui, la tourterelle! (Les Contes d'Hoffmann) Massenet: Adieu, notre petite table (Manon) Leoncavallo: Ballatella (I Pagliacci) Puccini: Mi chiamano Mimi (La Boheme) * Donde lieta (La Boheme) * Quando men vo (La Boheme) * Un bel di (Madama Butterfly) * O mio babbino caro (Gianni Schicchi) * Signore, ascolta (Turandot) * Tu che di gel sei cinta (Turandot) Menotti: The Black Swan (The Medium) * Monica's Waltz (The Medium) Moore: Willow Song (The Ballad of Baby Doe) * The Silver Aria (The Ballad of Baby Doe) Mechem: Fair Robin, I love (Tartuffe).
This is the first comprehensive historical overview of music created by women from the 9th through the 20th centuries. Each volume features 10-25 complete musical scores or complete movements from multi-movement compositions--most of which have been previously inaccessible. Expert scholars provide original essays about the composers, including biographical information, a discussion of the music in historical context, and critical analysis of each work. Entries also include bibliography, a list of works by the composer, and a discography.
Twenty great composers of Italian art songs from Scarlatti to Puccini are represented in songs that have been chosen for their appeal to young singers. Musical excerpts studied in Gateway to Italian Diction appear as complete scores.
Since the publication of the first edition in 1964, Phonetic Readings of Songs and Arias has served singers, teachers of singing, and students of lyric diction as a guide to the correct pronunciation of songs in foreign languages.
Twenty great composers of Italian art songs from Scarlatti to Puccini are represented in songs that have been chosen for their appeal to young singers. Musical excerpts studied in Gateway to Italian Diction appear as complete scores.
A Woman Can Dream, Can't She? is a soprano recital of art songs and arias from the Romantic and 20th Century periods of Western Music. The selections are unified around a theme of dreams; the dreams of a woman longing for connection and creation through love and music. Each piece displays the poetic and compositional characteristics common to each of these eras, and together with the unique qualities of each composer and poet comprises a set of arias and art songs which animate the expanse and flavor of dreams. Additionally, each selection expresses this theme as it relates to my personal journey as a woman, a mother, and an artist. This autobiographical aspect renders a deeply personal program of music which mirrors my experiences as an undergraduate in Boston and culminating with recent experiences of personal and musical exploration at California State University, Northridge. Accompanied by Helen Wu on piano, the program contains works of composers from the Romantic and 20th Century eras of Western music. A set of Italian bel canto art songs Vaga luna, che inargenti by Vincenzo Bellini (1801-1835) and Aragonese by Gioachino Rossini (1792-1868) begins the program, followed by Gustav Mahler's (1860-1911) Rückert-Lieder, with text by Friedrich Rückert (1788-1866) with a Bellini aria Come per me sereno from his opera La Sonnambula, closing the first half of the program. Sergei Rachmaninoff's (1873-1943) epic art song Vocalise Op. 32, No 14, opens the second half of the program, followed by a set of selections from Claude Debussy's (1862-1918) Ariettes oubliées, with text by Paul Verlaine (1844-1896). Next is Benjamin Britten's (1913-1976) aria How Beautiful It Is from his 1954 opera The Turn of the Screw, based on the Henry James novella, with libretto by Myfanwy Piper (1911-1997). A final set of three English art songs begins with William Walton's (1902-1983) Through Gilded Trellises with text by Edith Sitwell (1887-1964) with two selections from the Aaron Copland (1900-1990) / Emily Dickinson (1830-1886) collaboration Heart, We Will Forget Him and Why do They Shut Me Out of Heaven? concluding the program. This program of works by Rossini, Bellini, Rachmaninoff, Debussy, Mahler, Britten, Walton, and Copland represents a colorful and evocative swath of art songs and arias of the Romantic and Twentieth Century periods of composition and poetry. The composer and poet in each selection create a singular universe with human life and the human heart at its center. As a collection of works in concert, this music creates a living dream of connection, artistry, life, and love.
More great teaching material, at the same level as Volume 1. The contents, completely new and unduplicated from Volume 1, once again include American and English art songs, folk songs, sacred songs, and an introduction to singing in German, French, Italian, and Spanish. Over 30 songs in each book. Joan Boytim, who has emerged as the nationally recognized expert in the field of teaching pre-collegiate voice, has done exhaustive research in preparing these volumes.
