Guide to the Aria Repertoire

Mark Ross Clark (Author)

9780253218100

Paperback / softback, published 6 February 2007

624 pages
23.5 x 15.6 x 3.4 cm, 0.839 kg

"Clark . . . has compiled a guide to opera repertory for solo voice. . . . This work can be compared to Berton Coffin's Singer's Repertoire (2nd ed., 1962), which covers the art song in much the same manner. . . . Recommended."—Choice
"Clark, director of opera and musical theater at the University of Louisiana at Monroe and author of 'Singing, Acting, and Movement in Opera' (CH, Mar'03, 40—3914), has compiled a guide to opera repertory for solo voice. The arias are grouped by voice type (soprano, alto, tenor, and bass), with further subdivisions by character (spinto, dramatic, etc.). Each entry gives the title of the aria and its location within the work, along with the vocal range and duration. Clark discusses each briefly, touching on the dramatic setting and context, with interpretative suggestions for the performer. The location of the aria in a common piano—vocal score is given, e.g., p. 135 (Schirmer), but this telegraphic reference to just one score is unsatisfactory, since not all singers will have the same score, and even the referenced score is not fully identified. Separate indexes for locating arias by title, opera, language, and historical period aid readers in locating works that fit certain repertory requirements. This work can be compared to Berton Coffin's 'Singer's Repertoire' (2nd ed., 1962), which covers the art song in much the same manner. Summing Up: Recommended. Lower—level undergraduates through graduate students; professionals/practitioners. —CHOICE December 2007"—C. A. Kolczynski, Boston Public Library

A long-awaited resource for the young operatic singer, this annotated guide brings together many sources to start the journey toward powerful, informed performance. An extensive discussion of fach and audition repertoire is followed by more than 400 arias organized by voice type, including canonical, contemporary, and obscure works from different languages. Each entry includes level of difficulty, voice/character type, special techniques, tessitura, and accompaniment. Full of detailed and insightful commentary from internationally renowned singers, directors, coaches, and other professionals—Regina Resnik, Sherrill Milnes, Carol Vaness, and Warren Jones, to name a few—this volume will be invaluable to the performer, student, and teacher of operatic repertoire throughout their developing careers.

Acknowledgments
Introduction
Part I. Soprano Arias
1. Lyric ColoraturaNos. 1–14
2. SoubretteNos. 15–25
3. LyricNos. 26–58
4. Dramatic ColoraturaNos. 59–73
5. Full LyricNos. 74–87
6. SpintoNos. 88–95
7. DramaticNos. 96–106
Part II. Mezzo-Soprano Arias
8. Lyric ColoraturaNos. 1–18
9. LyricNos. 19–54
10. DramaticNos. 55–87
11. ContraltoNos. 88–99
Part III. Tenor Arias
12. LeggieroNos. 1–20
13. LyricNos. 21–81
14. SpintoNos. 82–100
15. DramaticNos. 101–102
Part IV. Baritone and Bass Arias
16. Lyric BaritoneNos. 1–39
17. Dramatic BaritoneNos. 40–64
18. Bass-BaritoneNos. 65–83
19. BassNos. 84–99
Index A. Arias Listed Alphabetically
Index B. Arias by Opera
Index C. Arias by Language
Index D. Arias by Historical Period