Mezzo-Soprano Accompaniment CDs-Volume 2 for Mezzo-Soprano/Belter. Two accompaniment CDs in each package which match the books 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 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.

The ultimate R&H source for singers with a unique song list for each voice type. Each volume includes an introduction about each show and plot notes for each song plus a Rodgers & Hammerstein biography.The series represents 10 musicals: Oklahoma! Carousel State Fair Allegro South Pacific The King and I Me and Juliet Cinderella Flower Drum Song and The Sound of Music.These packages include two companion CDs one featuring full performances and the other Piano accompaniments. The CDs work in all CD players but are also enhanced CD-ROMs with tempo adjustment software that will work in all PCs and Macintoshcomputers.Mezzo-Soprano edition includes: Bali Ha'i; A Cockeyed Optimist; The Gentleman Is a Dope; Honey Bun; I Cain't Say No; I Enjoy Being a Girl; In My Own Little Corner; It Might As Well Be Spring; Love Look Away; My Favorite Things; Something Wonderful; Stepsisters' Lament; Ten Minutes Ago; We Deserve Each Other; A Wonderful Guy; You'll Never Walk Alone.

Book/CD package (2 CD's)-More great teaching material at the same level as the first volume. Over 30 songs in each volume with no song duplicated between voice types. A student could easily begin either in The First Book or The First Book Part II or the books may be used concurrently.

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. 8 operatic showstoppers have been selected from works as diverse as Orfeo Et Euridice Il Trovatore and Marriage Of Figaro 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 orthe 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.

Performed by Irena Petkova mezzo-soprano Accompaniment: Plovdiv Philharmonic Orchestra Conductor: Nayden Todorov A beautiful collection of mezzo-soprano arias from Mozart's most beautiful operas. Includes selections from Così Fan Tutte Le Nozze di Figaro Idomeneo and La Clemenza di Tito. These are among the most beautiful works in the mezzo repertoire. Includes a printed vocal score on high-quality ivory paper with informative liner notes; and a CD G graphics-enabled compact disc with complete versions (with soloist) followed by stereo orchestral accompaniments to each piece minus the soloist.

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

Judith Weir's Good Morning Midnight was commissioned by Wigmore Hall and was first performed on 6th June 2015 at the Wigmore Hall in London. The work is arranged for Mezzo-Soprano and Chamber Ensemble and lasts around 20 minutes. This is the vocal score with a Piano reduction. Good Morning Midnight takes its name from a poem by Emily Dickinson whose poetry bookends this work asetting of five different verses in total. The words all centre around the theme of night solitude quiet and the passage of time the beauty of which is matched by Weir's fantastic music. Taking the words as herinspiration Weir creates a satisfying work that's full of emotion and a sheer joy to listen to. At its world premiere it was performed by Sarah Connolly (Mezzo-Soprano) and the AuroraOrchestra conducted by Nicolas Collon.

Texte : Selections from Navajo prière, Iroquois Constitution, chanson du ciel Loom et discours du chef Seattle sur le sens de terrain au peuple amérindien. Egalement disponible pour Mezzo-Soprano et ensemble (EP 66704) / Mezzo-Soprano