CONTENT 1. Wolfgang Amadeus Mozart Non so più cosa son, cosa faccio (Cherubino – Le nozze di Figaro) 2. Wolfgang Amadeus Mozart Voi che sapete (Cherubino – Le nozze di Figaro) 3. Wolfgang Amadeus Mozart Ah scostati / Smanie implacabili (Dorabella – Così fan tutte) 4. Giacomo Meyerbeer Nobles seigneurs, salut! (Urbain – Les Huguenots) 5. Gioachino Rossini Una voce poco fa (Rosina – Il barbiere di Siviglia) 6. Gioachino Rossini Nacqui all’affanno / Non più mesta (Angelina – La cenerentola) 7. Gioachino Rossini O patria! / Di tanti palpiti (Tancredi – Tancredi) 8. Gaetano Donizetti È sgombro il loco / Un bacio ancora (Smeton – Anna Bolena) 9. Vincenzo Bellini Ascolta! Se Romeo t’uccise un figlio (Romeo – I Capuleti e i Montecchi) 10. Vincenzo Bellini Dopo l’oscuro nembo (Nelly – Adelson e Salvini) 11. Ambroise Thomas Connais-tu le pays (Mignon – Mignon) 12. Ambroise Thomas C’est moi / Me voici dans son boudoir (Frédéric – Mignon) 13. Charles Gounod Faites-lui mes aveux (Siebel – Faust) 14. Jacques Offenbach Vois sous l’archet frémissant (Nicklausse – Les Contes d’Hoffmann) 15. Jacques Offenbach Vous aimez le danger / Ah! que j’aime les militaires (La Grande-Duchesse – La Grande-Duchesse de Gérolstein) 16. Johann Strauss Jr. Ich lade gern mir Gäste ein (Orlofsky – Die Fledermaus) 17. Wolfgang Amadeus Mozart Parto, ma tu ben mio (Sesto – La clemenza di Tito) 18. Wolfgang Amadeus Mozart Deh per questo istante solo (Sesto – La clemenza di Tito) 19. Jules Massenet Werther! Werther! (Charlotte – Werther) 20. Jules Massenet Va! laisse couler mes larmes (Charlotte – Werther) 21. Pietro Mascagni Buon giorno, Fritz! / O pallida (Beppe – L’amico Fritz) 22. Richard Strauss Wie du warst! (Octavian – Der Rosenkavalier) 23. Richard Strauss Sein wir wieder gut (Komponist – Ariadne auf Naxos) 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