OperAria Mezzo-soprano Volume 2: dramatic (German / English) [Breit:EB8872]

OperAria Mezzo-soprano
Repertoire Collection edited by Peter Anton Ling and Marina Sandel [Mez,pno]
Volume 2: dramatic (German / English)
EB 8872

152 pages | 23 x 30,5 cm | 580 g | ISMN: 979-0-004-18462-2 | Softbound

OperAria Mezzo-soprano
Repertoire Collection edited by Peter Anton Ling and Marina Sandel [Mez,pno]

“One of the most difficult decisions for singers (and their teachers!) is finding the right repertoire for the present state of vocal development. These three volumes for mezzo-soprano and alto provide a magnificent orientation, and are a great gift!” (Marilyn Schmiege, Patron mezzosoprano, alto)

“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)


available for download

Table of Contents

1. Gaetano Donizetti     Fia dunque vero / O mio Fernando     (Leonora – La favorita)
2. Richard Wagner     Entweihte Götter!     (Ortrud – Lohengrin)
3. Richard Wagner     Einsam wachend in der Nacht     (Brangäne – Tristan und Isolde)
4. Richard Wagner     Wo in Bergen du dich birgst     (Fricka – Die Walküre)
5. Giuseppe Verdi     Stride la vampa     (Azucena – Il trovatore)
6. Giuseppe Verdi     Condotta ell’era in ceppi     (Azucena – Il trovatore)
7. Giuseppe Verdi     Nei giardin del bello     (Eboli – Don Carlo)
8. Giuseppe Verdi     O don fatale     (Eboli – Don Carlo)
9. Giuseppe Verdi     Al suon del tamburo     (Preziosilla – La forza del destino)
10. Giuseppe Verdi     Rataplan     (Preziosilla – La forza del destino)
11. Charles Gounod     Me violà seule enfin / Plus grand, dans son obscurité     (Balkis – La Reine de Saba)
12. Amilcare Ponchielli     Ho il cor gonfio di lagrime / Stella del marinar!     (Laura – La Gioconda)
13. Georges Bizet     Quand je vous aimerai ? / L’amour est un oiseau rebelle     (Carmen – Carmen)
14. Georges Bizet     Près des remparts de Séville     (Carmen – Carmen)
15. Georges Bizet     Voyons, que j’essaie / En vain pour éviter     (Carmen – Carmen)
16. Pjotr Iljitsch Tschaikowsky     Oui, Dieu le veut! / Adieu, forêts     (Jeanne d’Arc – Jeanne d’Arc)
17. Antonín Dvořák     Aj, aj, už jsi se navrátila?     (Ježibaba – Rusalka)
18. Jules Massenet     Venge-moi / Hérode! Ne me refuse pas     (Hérodiade – Hérodiade)
19. Jules Massenet     Repose, ô belle amoureuse     (Kaled – Le roi de Lahore)
20. Pietro Mascagni     Voi lo sapete, o mamma     (Santuzza – Cavalleria rusticana)
21. Francesco Cilea     Acerba voluttà     (Bouillon – Adriana Lecouvreur)
22. Richard Strauss     Ich habe keine guten Nächte     (Klytämnestra – Elektra)
23. Richard Strauss     Hab Erbarmen!     (Amme – Frau ohne Schatten)
24. Benjamin Britten     Give him this orchid     (Lucretia – The Rape of Lucretia)

What is a voice made of? Cartilage, muscle, ligament and epithelium, of course; but also the personality, interests, predilections and character traits which make each and every human being unique.
Each of us is an individual. And so, just as shoes come in sizes 5, 7 and 6½, so too do voices come in all conceivable variations, with many nuances and facets in each voice category. Each rôle demands its corresponding physique, the necessary power and flexibility (in the laryns as well as in the breathing apparatus) and an adequate psychological affinity and imaginative power in order to really be successfully sung and credibly brought to life on stage.
One of the most difficult decisions for singers (and their teachers!) is finding the right repertoire for the present state of vocal development: What could I sing onstage right now? What repertoire might I grow into? What should I avoid at all costs? These three volumes for mezzo-soprano and alto provide a magnificent orientation, and are a great gift!
The experts who have selected these arias are experienced singers and teachers. They have taken into account not just range and tessitura, but also stylistic, musical and practical questions such as orchestration and scoring, epoch, theater size, historical performance practice and the ins and outs of casting by theaters and agents.
Not even this intelligently compiled collection of opera arias can be ultimately conclusive or universally suitable for every singer. There will always be such rare beasts as can sing and act a plethora of voice categories well and convincingly. However, it can be very beneficial for all singers to take a look over the fence; a few bars of Wagner now and then, for instance, judiciously selected, can be a really healthy way to extend physical and mental horizons.
It is a great pleasure to find in these tomes well-sorted evergreens and rareties and also arias as yet unknown to me. I am convinced that you will be as enthusiastic as I am, and therefore I wish you bon voyage on this exploratory journey into new repertoire – and into yourself!

Marilyn Schmiege, Munich, Spring 2020

Prices and availability subject to change without notice.