OperAria Alto

Description

„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, 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!

"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 opera's plot
• an evaluation from the singer's 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)

1. Christoph Willibald Gluck: Ahimè! Dove trascorsi? / Che farò senza Euridice (Orfeo – Orfeo ed Euridice)
2. Wolfgang Amadeus Mozart: Va, l’error mio palesa (Farnace – Mitridate)
3. Wolfgang Amadeus Mozart: Ah giacché son tradito / Son reo (Farnace – Mitridate)
4. Wolfgang Amadeus Mozart: Perché tacer degg’io? / Cara, lontano ancora (Ascanio – Ascanio in Alba)
5. Giacomo Meyerbeer: Ah ! mon fils (Fidès – Le prophète)
6. Gioachino Rossini: Ah! quel giorno ognor rammento (Arsace – Semiramide)
7. Gioachino Rossini: In sì barbara sciagura (Arsace – Semiramide)
8. Gioachino Rossini: Cruda sorte! (Isabella – L’italiana in Algeri)
9. Gioachino Rossini: Mura felici / Oh quante lagrime (Malcolm – La donna del lago)
10. Otto Nicolai: Ballade vom Jäger Herne (Frau Reich – Die lustigen Weiber von Windsor)
11. Richard Wagner: Weiche, Wotan, weiche! (Erda – Das Rheingold)
12. Richard Wagner: Höre mit Sinn (Waltraute – Götterdämmerung)
13. Giuseppe Verdi: Re dell’abisso affrettati (Ulrica – Un ballo in maschera)
14. Amilcare Ponchielli: Voce di donna (La Cieca – La Gioconda)
15. Camille Saint-Saëns: Samson, recherchant ma présence (Dalila – Samson et Dalila)
16. Camille Saint-Saëns: Mon cœur s’ouvre à ta voix (Dalila – Samson et Dalila)
17. Modest Mussorgskij: Gadan’e (Marfa – Chovanš?ina )
18. Pjotr Iljitsch Tschaikowsky: Ach, Tanja, Tanja! (Olga – Evgenij Onegin)
19. Wilhelm Kienzl: Johannes schläft (Magdalena – Der Evangelimann)
20. Claude Debussy: Voici ce qu’il écrit à son frère Pelléas (Geneviève – Pelléas et Mélisande)
21. Richard Strauss: Daphne! Wir warten dein (Gaea – Daphne)
22. Igor Strawinsky: As I was saying (Baba the Turk – The Rake’s Progress)
23. Aribert Reimann: Was für ein Lärm (Bernarda – Bernarda Albas Haus)