Par . Semblable au syllabus de piano classique à succès, publié fin 2020, le répertoire choisi colle à quatre principes clés : défendre des compositeurs ethniquement diversifiés ; représenter les genres ; connaître l'histoire et la tradition de l'apprentissage d'instruments ; et permettre aux étudiants de se sentir à l'aise pour étudier la musique dans un environnement populaire et classique. Chaque échelon du programme vocal de 2021, très attendu, comprend dix arrangements de 'tubes', évalués et conçus de manière à doter les chanteurs contemporains de compétences pertinentes pour l'industrie, quel que soit l'environnement dans lequel ils se produisent. / Date parution : 2021-11-03/ Recueil / Vocal

Solo voice-Singing or playing music that has not been seen before is a necessary part of any musician's life and the exploration of a new piece should be an enjoyable and stimulating process. This book offers far more than just specimen tests. Exercises and practical guidance introduce new skills leading to their incorporation in pieces of music and the pieces themselves are approachable and attractive as well as carefully graded (Initial-Grade 2).

Ces recueils de chansons à succès pour des chanteurs adolescents, mettant en vedette plus de 35 chansons tant aimées Broadway par volume, ont été libérés en 2001. Or, ces précieuses ressources pédagogiques sont disponibles avec les CD d'accompagnement mettant en vedette accompagnements au piano professionnel!Jeunes Femmes Edition - Livre et CD pack. / Voix

In 1857 and 1858 as Richard Wagner had come to the completion of Die Walkure the second installment in his epic opera cycle Der Ring des Nibelungen he took time out to write a series of lieder for (and based on poems by)Mathilde Wesendonck with whom Wagner was believed to have been at the very least extremely infatuated. Whatever the truth might have been behind their relationship it is known that Wagner had met Mathilde's husband Otto inZurich and his ensuing friendship with the couple led to this beautiful set of lieder.Wagner himself called two of the set's songs (Im Treibhaus and Traume) ?studies? for his magnificent opera Tristan andIsolde and though originally intended for female voice with piano all of these songs were eventually orchestrated either by Wagner (in the case of Traume) or by other composers. When they were first performed in 1862 they weretitled Five Songs for a Female Voice. In the 20th century they also became very popular songs for some of the greatest tenors.Much earlier in 1839 Wagner had composed a three-song cycle called Trois Melodies. The firstpiece entitled Dors mon enfant was a lullaby that Wagner ascribed to an unnamed young poet of his publisher's acquaintance and of which he wrote that his wife had called ?heavenly for sending one to sleep?. He thenset Ronsard's song Mignonne and Victor Hugo's L'attente (from that author's Orientales) to round out the set. Wagner offered L'attente to the reigning diva of the time Pauline Viardot who is said to have flatly refused it.Wagner wrote in his memoirs My Life ?I have no reason to be ashamed of these small pieces.?Listen to brilliant tenor Jon Robert Cart perform these lieder. Then he steps aside and you take center stage with yourvirtuoso accompanist Narciso Solero at the piano.

Par MC NEFF STEPHEN. My research for Banished began with a small group of students during a Trinity Laban co-lab period in 2013, though the idea goes back over 30 years when I first saw Steve Gooch’s Female Transport and stored the idea of adapting it as an opera until the right opportunity arose. I have been involved in opera for a long time and it has always been a frustration for me that while there is an abundance of female talent (particularly so in conservatories and colleges) there is a noticeable lack of challenging roles available for young women. The roles most often undertaken are maids or innocent girls, compliant wives or tomboys. Not that the problem is necessarily confined exclusively to young women, but where good roles exist, the women are all too often merely passive or victims. Things happen to them rather than them making things happen. They are unable to influence their circumstances and are usually resigned to their fate. Worse still, they are often judged in some way responsible for what happens to them, culpable even because of their looks, their way of life or a streak of independence. Just think about Mimi, Carmen and Violetta (to name only three on a long list). All these characters die, and their attempts at individuality contribute to their demise in some way that they have no control over. With some exceptions female characters in opera are too often sad, mad or bad. Redressing this balance and taking advantage of the richness in vocal talent is only one reason to write an opera reflecting the reality of a group of strong women who work things out for themselves. The transportation of people to Australia at the beginning of the nineteenth century is not a particularly well understood part of history beyond a sort of folk myth. What were the circumstances, who were the people and what happened to them? Opera does not exist to completely answer these questions, but it can focus on the women as individuals and help tell their story. (All the women named in the opera actually existed.) My approach has to been to put the women’s narrative centre stage and, in the confines of an oppressive, dangerous environment go with them on their journey as they survive or sink. The demands on the women are huge. At every turn they are oppressed by their jailers, the system that brought them here and their own low expectations. They have to work out ways to overcome these odds. We discover them through their music in solos and ensembles, sometimes reflective, at other times boasting about their lives a petty criminals and trying to establish status and pecking order. Alongside this I have used references to music of the time to create another reality built on larger ensembles and choruses. This is a sort of collective consciousness aware of loss, longing and context – even of a broad political dimension to the realities of Transportation. Despite the acute awareness of their circumstances in these ensembles, there is also a resilience and strength that transcends the individual stories. Stephen McNeff / Instrumental Music / Répertoire / Voix

Vocal Selections-When blind date newbie Aaron is set up with serial-dater Casey a casual drink at a busy New York restaurant turns into a hilarious high-stakes dinner. As the date unfolds in real time the couple quickly find that they are not alone on this unpredictable evening. In a delightful and unexpected twist Casey and Aaron's inner critics take on a life of their own when other restaurant patrons transform into supportive best friends manipulative exes and protective parents who sing and dance them through ice-breakers appetisers and potential conversational land mines.Can this couple turn what could be a dating disaster into something special before the checkarrives?This Vocal selections songbook includes sheet music for 10 songs including First Impressions I'd Order Love The One Something That Will Last The Things I Never Said and more.