With the arrival of Mozart, opera at last came fully alive. Discarding the masks of Greek drama, as it were, for individuals with recognizable personalities, he saw the vast possibilities of the operatic form as a means of creating characters, great and small, who moved, thought, and breathed musically like real people. He spoke our language, treating stage life as an everyday arena and looking, commenting, and feeling with emotions we understand. In the end, it is his wondrous music that in its depth and variety, its color and wit, gives the composer a universality that is unique in t... Read More
Format: Paperback
With the arrival of Mozart, opera at last came fully alive. Discarding the masks of Greek drama, as it were, for individuals with recognizable personalities, he saw the vast possibilities of the operatic form as a means of creating characters, great and small, who moved, thought, and breathed musically like real people. He spoke our language, treating stage life as an everyday arena and looking, commenting, and feeling with emotions we understand. In the end, it is his wondrous music that in its depth and variety, its color and wit, gives the composer a universality that is unique in t... Read More
Description
With the arrival of Mozart, opera at last came fully alive. Discarding the masks of Greek drama, as it were, for individuals with recognizable personalities, he saw the vast possibilities of the operatic form as a means of creating characters, great and small, who moved, thought, and breathed musically like real people. He spoke our language, treating stage life as an everyday arena and looking, commenting, and feeling with emotions we understand. In the end, it is his wondrous music that in its depth and variety, its color and wit, gives the composer a universality that is unique in the long history of music. Dover's compilation of 36 arias from Mozart's seven theatrical masterpieces moves from the youthful exuberance of The Abduction from the Seraglio to the complex, enchanting moral allegory of The Magic Flute, completed shortly before the composer's death in 1791. Together with all of the great soprano arias from these works are classic pieces from Idomeneo, The Marriage of Figaro, Don Giovanni, Così fan tutte, and La Clemenza di Tito. Reproduced from authoritative early editions, the vocal scores of these world-famous arias will be a welcome addition to the libraries of all singers, musicians, and opera lovers.
Dover original compilation of 14 arias from authoritative editions.
Details
Price: $25.95
Pages: 224
Publisher: Dover Publications
Imprint: Dover Publications
Series: Dover Opera Scores
Publication Date: 13th February 2003
Trim Size: 7.5 x 10.7 in
ISBN: 9780486424392
Format: Paperback
BISACs: MUSIC / Printed Music / Opera & Classical Scores MUSIC / Genres & Styles / Opera MUSIC / Genres & Styles / Classical
Author Bio
A child prodigy who blossomed into the Classical era's most influential composer, Wolfgang Amadeus Mozart (1756–91) wrote more than 600 works in his brief life. His oeuvre encompasses a wide variety of genres, including symphonic, chamber, operatic, and choral music.
Table of Contents
"IDOMENEO, RÈ DI CRETA / IDOMENEO, KING OF CRETE K366" "Ilia's recitative and aria, Act I" [1] "Quando avran fine omai?Padre, germani, addio!" "Elettra's aria, Act I" [2] Tutte nel cor vi sento "Ilia's aria, Act II" [3] Se il padre perdei "Elettra's aria and marcia, Act II" [4] "Idol mio, se ritroso altro amante?Odo da lunge armonioso suono" "Ilia's aria, Act III" [5] Zeffiretti lusinghieri "Elettra's aria, Act III" [6] "D'Oreste, d'Ajace" DIE ENTFÜHRUNG AUS DEM SERAIL / THE ABDUCTION FROM THE SERAGLIO K384 "Konstanze's aria, Act I" [7] ach ich liebte "Blonde's aria, Act II" [8] Durch Zärtlichkeit und Schmeicheln "Konstanze's recitative and aria, Act II" [9] Welcher Wechsel herrscht in meiner Seele?Traurigkeit "Konstanze's aria, Act II" [10] Martern aller Arten "Blonde's rondo, Act II" [11] "Welche Wonne, welche Lust" LE NOZZE DI FIGARO / THE MARRIAGE OF FIGARO K492 "Cherubino's aria, Act I" [12] "Non sò più cosa son, cosa faccio" "Countess Almaviva's aria, Act II" [13] "Porgi, amor" "Cherubino's arietta, Act II" [14] Voi che sapete "Susanna's aria, Act II" [15] "Venite, inginocchiatevi!" "Countess Almaviva's recitative and aria, Act III" [16] E Susanna non vien??Dove sono?Ah! Se almen la mia costanza "Barbarina's cavatina, Act IV" [17] L'ho perduta! Me mechina! "Susanna's recitative and aria, Act IV" [18] "Giunse al fin il momento?Deh vieni, non tardar" DON GIOVANNI K527 "Donna Elvira's aria, Act I" [19] Ah! Fuggi il traditor! "Donna Anna's aria, Act I" [20] Or sai chi l'onore "Zerlina's aria, Act I" [21] "Batti, batti" "Zerlina's aria, Act II" [22] "Vedrai, carino" "Donna Elvira's recitative and aria, Act II" [23] In quali eccessi Mi tradì "Donna Anna's recitative and aria (rondò), Act II" [24] Crudele??Troppo mi spiace?Non mi dir COSÌ FAN TUTTE K588 "Dorabella's recitative and aria, Act I / Scene 3" [25] Ah scostati?Smanie implacabili "Despina's aria, Act I / Scene 3" [26] "In uomini, in soldati" "Fiordiligi's recitative and aria, Act I / Scene 3" [27] "Temerari, sortite?Come scoglio?Rispettate, anime ingrate" "Despina's aria, At II / Scene 1" [28] Una donna a quindici anni?Dee in un momento "Fiordiligi's rondò, Act II / Scene 2" [29] "Per pietà, ben mio, perdona?A chi mai mancò" "Dorabella's aria, Act II / Scene 3" [30] È amore un ladroncello DIE ZAUBERFLÖTE / THE MAGIC FLUTE K620 "The Queen of the Night's recitative and aria, Act I" [31] "O zitt're nicht, mein lieber Sohn!?Zum Leiden bin ich auserkoren" The Queen of the Night's aria [32] Der Hölle Rache "Pamina's aria, Act II" [33] "Ach, ich fühl's" LA CLEMENZA DI TITO K621 "Vitellia's aria, Act I" [34] Deh se piacer mi vuoi?Che ceicamente crede "Servilia's aria-minuet, Act II" [35] S'altro che lagrime "Vitellia's recitative obbligato and rondò, Act II" [36] "Ecco il punto, O Vitellia?Non più di fiori vaghe catene"
With the arrival of Mozart, opera at last came fully alive. Discarding the masks of Greek drama, as it were, for individuals with recognizable personalities, he saw the vast possibilities of the operatic form as a means of creating characters, great and small, who moved, thought, and breathed musically like real people. He spoke our language, treating stage life as an everyday arena and looking, commenting, and feeling with emotions we understand. In the end, it is his wondrous music that in its depth and variety, its color and wit, gives the composer a universality that is unique in the long history of music. Dover's compilation of 36 arias from Mozart's seven theatrical masterpieces moves from the youthful exuberance of The Abduction from the Seraglio to the complex, enchanting moral allegory of The Magic Flute, completed shortly before the composer's death in 1791. Together with all of the great soprano arias from these works are classic pieces from Idomeneo, The Marriage of Figaro, Don Giovanni, Così fan tutte, and La Clemenza di Tito. Reproduced from authoritative early editions, the vocal scores of these world-famous arias will be a welcome addition to the libraries of all singers, musicians, and opera lovers.
Dover original compilation of 14 arias from authoritative editions.
Price: $25.95
Pages: 224
Publisher: Dover Publications
Imprint: Dover Publications
Series: Dover Opera Scores
Publication Date: 13th February 2003
Trim Size: 7.5 x 10.7 in
ISBN: 9780486424392
Format: Paperback
BISACs: MUSIC / Printed Music / Opera & Classical Scores MUSIC / Genres & Styles / Opera MUSIC / Genres & Styles / Classical
A child prodigy who blossomed into the Classical era's most influential composer, Wolfgang Amadeus Mozart (1756–91) wrote more than 600 works in his brief life. His oeuvre encompasses a wide variety of genres, including symphonic, chamber, operatic, and choral music.
"IDOMENEO, RÈ DI CRETA / IDOMENEO, KING OF CRETE K366" "Ilia's recitative and aria, Act I" [1] "Quando avran fine omai?Padre, germani, addio!" "Elettra's aria, Act I" [2] Tutte nel cor vi sento "Ilia's aria, Act II" [3] Se il padre perdei "Elettra's aria and marcia, Act II" [4] "Idol mio, se ritroso altro amante?Odo da lunge armonioso suono" "Ilia's aria, Act III" [5] Zeffiretti lusinghieri "Elettra's aria, Act III" [6] "D'Oreste, d'Ajace" DIE ENTFÜHRUNG AUS DEM SERAIL / THE ABDUCTION FROM THE SERAGLIO K384 "Konstanze's aria, Act I" [7] ach ich liebte "Blonde's aria, Act II" [8] Durch Zärtlichkeit und Schmeicheln "Konstanze's recitative and aria, Act II" [9] Welcher Wechsel herrscht in meiner Seele?Traurigkeit "Konstanze's aria, Act II" [10] Martern aller Arten "Blonde's rondo, Act II" [11] "Welche Wonne, welche Lust" LE NOZZE DI FIGARO / THE MARRIAGE OF FIGARO K492 "Cherubino's aria, Act I" [12] "Non sò più cosa son, cosa faccio" "Countess Almaviva's aria, Act II" [13] "Porgi, amor" "Cherubino's arietta, Act II" [14] Voi che sapete "Susanna's aria, Act II" [15] "Venite, inginocchiatevi!" "Countess Almaviva's recitative and aria, Act III" [16] E Susanna non vien??Dove sono?Ah! Se almen la mia costanza "Barbarina's cavatina, Act IV" [17] L'ho perduta! Me mechina! "Susanna's recitative and aria, Act IV" [18] "Giunse al fin il momento?Deh vieni, non tardar" DON GIOVANNI K527 "Donna Elvira's aria, Act I" [19] Ah! Fuggi il traditor! "Donna Anna's aria, Act I" [20] Or sai chi l'onore "Zerlina's aria, Act I" [21] "Batti, batti" "Zerlina's aria, Act II" [22] "Vedrai, carino" "Donna Elvira's recitative and aria, Act II" [23] In quali eccessi Mi tradì "Donna Anna's recitative and aria (rondò), Act II" [24] Crudele??Troppo mi spiace?Non mi dir COSÌ FAN TUTTE K588 "Dorabella's recitative and aria, Act I / Scene 3" [25] Ah scostati?Smanie implacabili "Despina's aria, Act I / Scene 3" [26] "In uomini, in soldati" "Fiordiligi's recitative and aria, Act I / Scene 3" [27] "Temerari, sortite?Come scoglio?Rispettate, anime ingrate" "Despina's aria, At II / Scene 1" [28] Una donna a quindici anni?Dee in un momento "Fiordiligi's rondò, Act II / Scene 2" [29] "Per pietà, ben mio, perdona?A chi mai mancò" "Dorabella's aria, Act II / Scene 3" [30] È amore un ladroncello DIE ZAUBERFLÖTE / THE MAGIC FLUTE K620 "The Queen of the Night's recitative and aria, Act I" [31] "O zitt're nicht, mein lieber Sohn!?Zum Leiden bin ich auserkoren" The Queen of the Night's aria [32] Der Hölle Rache "Pamina's aria, Act II" [33] "Ach, ich fühl's" LA CLEMENZA DI TITO K621 "Vitellia's aria, Act I" [34] Deh se piacer mi vuoi?Che ceicamente crede "Servilia's aria-minuet, Act II" [35] S'altro che lagrime "Vitellia's recitative obbligato and rondò, Act II" [36] "Ecco il punto, O Vitellia?Non più di fiori vaghe catene"
