„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)
  
  

  Pieces

  
  
  • Gluck: Ahimè! Dove trascorsi? / Che farò senza Euridice from Orfeo ed Euridice (Italian Version), Wq. 30
  • Mozart: Va, l’error mio palesa from Mitridate, Re di Ponto, K. 87 (74a)
  • Mozart: Ah giacché son tradito / Son reo from Mitridate, Re di Ponto, K. 87 (74a)
  • Mozart: Perché tacer degg’io? / Cara, lontano ancora from Ascanio in Alba, K. 111
  • Meyerbeer: Ah ! mon fils from Le prophète
  • Rossini: Ah! quel giorno ognor rammento from Semiramide
  • Rossini: In sì 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 Jäger Herne from Die lustige Weiber von Windsor (The Merry Wives of Windsor)
  • Wagner: Weiche, Wotan, weiche! from Das Rheingold, WWV 86a
  • Wagner: Höre mit Sinn from Götterdämmerung, WWV 86D
  • Verdi: Re dell’abisso affrettati from Un ballo in maschera (A Masked Ball)
  • Ponchielli: Voce di donna from La Gioconda
  • Saint-Saëns: Samson, recherchant ma présence from Samson and Delilah, Op. 47
  • Saint-Saëns: Mon cœur s’ouvre à ta voix from Samson and Delilah, Op. 47
  • Mussorgsky: Gadan’e from Khovanshchina (Хованщина)
  • Tchaikovsky: Ach, Tanja, Tanja! from Yevgeny Onegin (Eugene Onegin), ČW 5, Op. 24
  • Kienzl: Johannes schläft from Der Evangelimann
  • Debussy: Voici ce qu’il écrit à son frère Pelléas from Pelléas et Mélisande, 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 für ein Lärm from Bernarda Albas Haus
  
  Composers: Modest Mussorgsky, Camille Saint-Saëns, 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