OperAria Alto

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Description

"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)

Pieces

• Ahimè! Dove trascorsi? / Che farò senza Euridice from Gluck: Orfeo ed Euridice (Italian Version), Wq. 30
• Va, l’error mio palesa from Mozart: Mitridate, Re di Ponto, K. 87 (74a)
• Ah giacché son tradito / Son reo from Mozart: Mitridate, Re di Ponto, K. 87 (74a)
• Perché tacer degg’io? / Cara, lontano ancora from Mozart: Ascanio in Alba, K. 111
• Ah ! mon fils from Meyerbeer: Le prophète
• Ah! quel giorno ognor rammento from Rossini: Semiramide
• In sì barbara sciagura from Rossini: Semiramide
• Cruda sorte! from Rossini: L'Italiana in Algeri
• Rossini: Mura felici / Oh quante lagrime from La donna del lago
• Ballade vom Jäger Herne from O. Nicolai: Die lustige Weiber von Windsor (The Merry Wives of Windsor)
• Weiche, Wotan, weiche! from Wagner: Das Rheingold, WWV 86a
• Höre mit Sinn from Wagner: Götterdämmerung, WWV 86D
• Re dell’abisso affrettati from Verdi: Un ballo in maschera (A Masked Ball)
• Voce di donna from Ponchielli: La Gioconda
• Samson, recherchant ma présence from Saint-Saëns: Samson and Delilah, Op. 47
• Mon cœur s’ouvre à ta voix from Saint-Saëns: Samson and Delilah, Op. 47
• Gadan’e from Mussorgsky: Khovanshchina (Хованщина)
• Ach, Tanja, Tanja! from Tchaikovsky: Yevgeny Onegin (Eugene Onegin), ČW 5, Op. 24
• Kienzl: Johannes schläft from Der Evangelimann
• Voici ce qu’il écrit à son frère Pelléas from Debussy: Pelléas et Mélisande, CD 93, L 88
• Strauss: Daphne! Wir warten dein from Daphne, Op. 82
• As I was saying from Stravinsky: The Rake's Progress (1951)
• Reimann: Was für ein Lärm from Bernarda Albas Haus