Par VERSCHAEVE MICHEL. 'Du point de vue spectacle, l'opéra-comique français est, dans l'ensemble, une réussite, et la musique y joue un rôle souvent fort plaisant. Tout cela est vif, alerte, spirituel, habile, parfois pétillant - cela chante dans toutes les mémoires, et il n'est nul besoin de connaître le rudiment du solfège pour s'en délecter. La musique, presque uniquement mélodique, encore qu'elle soit soutenue par un orchestre à la fois léger, transparent et qui, jamais, n'accapare indiscrètement l'attention, suit l'action avec souplesse, avec esprit, avec bonne humeur.' * C'est dans les Airs sérieux et à boire, la Comédie Italienne et dans les théâtres de foires que l'Opéra-Comique confirme sa naissance, se développe et finit par s'imposer notamment grâce, à la fin du XVIIe siècle, aux foires St-Laurent et St-Germain (qui se déroulent du 3 février au dimanche de la Passion). A la fin de l'année 1714, l'Opéra autorise le nom définitif de l'Opéra-Comique composé alors du Vaudeville (à l'origine Vau de Vire) mêlé d'ariettes. C'est donc l'alternance du parlé et du chanté qui fait la spécificité de l'Opéra-Comique contrairement à l'Opéra qui est chanté de bout en bout. Il faut donc aux interprètes un solide travail d'acteur allié à des qualités vocales de plus en plus exigeantes. Le XIXe siècle produira un nombre considérable de partitions jouées des centaines de fois parmi lesquelles se distinguent notamment : La Dame Blanche (1825) de Boieldieu, Les Dragons de Villars (1856) de Maillard, Le Pré aux Clercs (1832) d'Hérold, Les Noces de Jeannette (1853) de Massé, Lalla Roukh (1862) de David ou Le Postillon de Longjumeau (1836) d'Adam. Dans notre série de recueils, nous ne manquerons évidemment pas de proposer des oeuvres antérieures et postérieures à ces dates, oeuvres particulièrement choisies pour leurs différences (au niveau des tessitures, de l'agilité, du legato, etc.). Il nous est apparu évident, lorsque c'était le cas, de laisser les textes parlés avant, pendant et après les airs, ce qui caractérise l'essence même de l'Opéra-Comique. Le but de nos recueils est avant tout de développer un répertoire incontournable de l'histoire de la musique française et de donner la possibilité aux interprètes d'épanouir au mieux leurs qualités vocales et théâtrales. / classique / Répertoire / Mezzo-Soprano et Piano ou 2 Mezzo-Soprano

An Introduction to Repertoire. This series of five book/online audio access packs is an introduction to art song in English, French, German, Italian and Spanish. Each volume has a different song list, and includes 30 selections in appropriate keys. Beyond art song, each collection includes two carefully chosen opera arias, an oratorio aria, and an operetta aria by Gilbert

Compiled by Joan Frey Boytim. Each volume contains several very easy songs progressing to moderate difficulty. Includes a wide variety of music focusing primarily on literature in English with art songs folk songs andsacred songs.

Singer's Musical Theatre Anthology - Volume 3 (Mezzo Soprano). Book/online audio.

This collection of 18 easy supplementary repertory songs all in English augments selections in Easy Songs for the Beginning Mezzo-Soprano Easy Songs for the Beginning Mezzo-Soprano_Part II and the three volumes of The First Book of Mezzo-Soprano/Alto. Audio recordings of accompaniments can be accessed online by using the unique code inside each book. The audio files can be streamed or downloaded. Contents: Birds in the Night (Sullivan) · Cradle Song (Schubert) · The Forsaken Maid (Wilson) · Hymn to the Night (Campbell-Tipton) · I Have Twelve Oxen (Ireland) · I Will Go with My Father A-ploughing (Quilter) · It Was a Lover and His Lass (Clough-Leighter) · Jeanette and HerLittle Wooden Shoes (Herbert) · Love Is a Sickness Full of Woes (Parker) · O Bid Your Faithful Ariel Fly (Linley) · Should He Upbraid (Bishop) · Spring Comes Laughing (Carew) · Tears (Tchaikovsky) · Two Roses (Gilberté) · Under the Greenwood Tree (Buzzi-Peccia) · The Valley of Laughter (Sanderson) · The Winds Are Calling (Ronald) · Without Thee (Gounod).

A collection of some of the best-loved oratorio arias newly edited and engraved by Richard Walters. Includes historical notes with information on all major works featured and line by line translation for study. Most arias are solely in Latin; those of J.S. Bach Mendelssohn and Haydn are in German with English translation.

Mezzo-Soprano/Belter Accompaniment CDs-Mezzo-Soprano/Belter Volume Three. Two accompaniment CDs in each package which match the music book from the series. Containing a collection of songs from the musical stage categorized by voice type the selections are presented in their authentic settings excerpted from the original vocal scores.

The world's most trusted source for great theatre literature for singing actors. The online audio includes Piano accompaniments. The book features authentic editions of each song in the original keys. The songs have been carefully chosen for each voice type and are culled from a wide selection of classic and contemporary shows.

The Singer's Musical Theatre Anthology - Volume 5. More great songs for theatre singers of every description from contemporary withselections from recent shows (The Drowsy Chaperone, Curtains, Grey Gardens, Hairspray, Jersey Boys, The Light in the Piazza, Spamalot, Spring Awakening, Wicked), as well as a deeper look into classic musicals. As in all previous volumes in the series, all songs are in authentic versions in the original keys,with notes about each show and song. Available with Accompaniment CDs (2 CDs per set). 40 songs per volume. HL00001152 Book HL00001163 Book/CDs HL00001158 Accompaniment CDs

The Sweet Primroses is a work by Judith Weir for Mezzo-Soprano Voice and Viola. Commissioned by the University of Birmingham for the CrossCurrents Festival 2016 the first performance was in February2016 at the University's Elgar Concert Hall. A full performance lasts around 3 minutes.  When composing this piece Weir challenged herself to write down as much as she could remember of one ofher favourite English folk songs. The Voice sings the resulting narrative while the Viola part represents the limits of memory.

This unique and exciting series gives you the chance to learn some of the greatest arias of the Opera tradition with full orchestral backing tracks. A selection of operatic showstoppers have been presented in full notation with concert accompaniments for Piano. Furthermore a professionally recorded CD is included that features the full-scale orchestral arrangement of each aria so you can experience the power and magic of a grand-scale performance. There's even a version of each featuring an established singer so you can hear the piece in full.An excellent rehearsal tool or the ideal way to introduce your voice to the wonders and rigors of the Opera.

Antologia Critico-Tecnica per gli studenti di canto-The Art of the Vocalise Part II (Mezzo-Soprano - Baritone) is a major teaching work edited by Elio Battaglia and written for those young singers who have assimilated the basic concepts of vocal technique and feel that they are ready toundertake a conscientious study of the vocalise.This method provides a rich anthology of pieces of increasing diffi culty written by composers singers and teachers from the 17th Century to the modern day.The last section of the anthology contains a selection of classic pieces from twentieth-century by G. F. Malipiero H. Defosse A. Honegger H. Opienski.

for solo voice and orchestra-An intense reflection on romantic passion and loss Anders Hillborg?s ?lontano in sonno? for Voice (Mezzosoprano/Soprano) and orchestra sets sonnets by Petrarch. Originally written for Anne Sofie von Otter this 15-minute work unfolds slowly the Voice floating over a gleaming unearthly soundscape lit from within by glass Harmonica. ?Hillborg has never shied away from the heavenly and the dazzling and once again has developed a singular musical space... The text (taken from Petrarch?s Sonnets) revolves around the conflict between pleasant memory and the painfulabsence? A blisteringly beautiful work!? - Dagens Nyheter (Martin Nyström) 20 December 2003.