Book Description
For well over a century, the G. Schirmer edition of 24 Italian Songs and Arias of the 17th and 18th Centuries has introduced millions of beginning singers to serious Italian vocal literature. Offered in two accessible keys suitable for all singers, it is likely to be the first publication a voice teacher will ask a first-time student to purchase. The classic Parisotti realizations result in rich, satisfying accompaniments which allow singers pure musical enjoyment. For ease of practice, carefully prepared accompaniments are also recorded on CD by John Keene, a New York-based concert accompanist and vocal coach who has performed throughout the United States for radio and television. Educated at the University of Southern California, Keene has taught accompanying at the university level and collaborated with Gian Carlo Menotti and Thea Musgrave on productions of their operas.
Customer Reviews:
Excellent For Beginner Sopranos.......2007-08-08
I think all sopranos know this is the first book! Ofcourse it's great, these are the songs that build our voices and charater to become better sopranos and performers!
If you are a true Singer, this book is a MUST.......2007-04-10
Apply this and bring it to all of your voice lessons. Singing Arias assists in your singing of ANY song and ANY Genre. If your teacher is unable to get you to reach this point, I suggest a new teacher.
Classic Beginner Repertoire..........2004-04-07
Affectionately known as "Old Yeller" (so-called because of the yellow Schirmer cover), the Schirmer edition of these songs has been a staple at voice studios in the United States and the U.K. Similar editions of this repertoire have appeared by various companies, though this one continues to be the best seller. The reason for this is simple - these songs are immediately accessable to the beginning student, not only for their beauty, but the simple and modern arrangements.
There is something for every aspect of technique in this book. One can spend many years, in fact, just digesting and singing from this book alone. They range from moderate in difficulty, to difficult, to quite advanced. I would advise the beginner to start with a less advanced piece, such as "Nel Cor piu non mi sento" or "Sebben Crudele", then build the voice with something like "Per la gloria", "Caro mio ben", and "Gia il sole", and them attempt the harder works like "O del mio dolce ardor" and "Il mio bel foco (Quella fiamma)." One sees beginning students dismiss all the pieces as "beginner repertoire" and go straight to the harder ones first. Unless a singer can hit all notes with proper technique, has near perfect pronunciation, and has emoting the meaning of the song down to an art (and truly, this is an art) he or she should not even attempt to approach the more difficult pieces. So often are these pieces performed badly and too early in a singer's progress.
Contrary to popular opinion, the original versions of many of these songs (including some of the Scarlatti works) have been lost or cannot be duplicated faithfully with a piano. Granted, the Paton edition contains more songs, additional lyrics to several songs, and more accurate translations, but try getting a timid voice student enthusiastic about singing what sounds like a Bach cantata on a respirator? I find the arrangements on that compilation a poor attempt to make the Baroque melodies sounds more "authentic" by affixing cliché chords of the era and bizzarre ornamentation. The result: a bland and often overbearing arrangement. (I use that edition solely as a reference book, for which it is excellent - not for performing.) The arrangements on this version take the melodies and let them sit organically with the arrangement - ornamentation is left for the singer to execute (where it should be), and the result is indeed inviting.
We currently have a few recording of different voice types singing these works. Cecilia Bartoli (either a soprano or mezzo-soprano depending on the day and who you ask) recorded a selection of these pieces and other melodies of the period for EMI a decade ago called "Se Tu M'ami". That recording used these arrangements, and I highly recomend it as an example of what these pieces can truly be. She plays with the works, making them sound fresh and poignant: a good study for those using this book. Equally satisfying is "Aria Antiche" by the great Verdi baritone Renato Bruson, though not for his interpretation. It's the voice itself that excites on that recording. A welcome example of what these songs can do for a student. The tenor Richard Tucker, on his "Taste of Italy", includes many of these pieces, though I feel they deserve a more intimate approach (almost akin to the German lieder) than Tucker affords. Bartoli gets it just right in this respect. All of these recordings are available through Amazon.
A few more notes: all of these songs may be performed by a male or female singer without alterations to the lyrics. Some people have tried to differentiate which are the "male songs" and which are the "female songs." The only factor in this is what sounds best. "Per la goria", though written for a female character, I prefer for males. "Se tu m'ami" I prefer for females. Both these songs could go either way, however. A second note, if you can play piano and have access to one during practice, I would suggest you stay away from the accompaniment CD. The tempi are almost always much too fast (I would break out in uncontrolable laughter listening to someone attempt to keep up with the piano during "O cessate di piagarmi"), and the dynamics are non existent.
I highly reccomend both this edition, for singing from, and the Paton edition, for reference. Pick either the medium high or medium low version (low if you can hit up to an E above middle-C; high if you can go as as far as the A above middle-C), and be happy with the feeling that you made a good investment for you vocal future.
Don't do it!.......2003-10-11
Please don't buy this book. The editions are awful and completely out of date. I'm a full-time teacher of singing & I cringe when singers bring this in. Try "28 Italian Songs" edited by John Glen Paton. It has the same songs, but the editions are much better! Good luck.
An absolute essential for the serious voice student.......2001-08-21
My voice teacher insisted I purchase this book and I am glad I did. We use it each week for development work, vocalizing, and learning new pieces. These songs are incredibly useful for working out the kinks you may have with other pieces, as well as just being a pleasure to sing for their natural beauty. I have a second copy of the book with the CD; I agree with the other reviewers that the CD accompaniment is way too fast. I have Cecilia Bartoli's CD, referenced by another reviewer, also and I have used it to help learn or refine some of these songs. Even so, the accompaniment CD has been useful for me in practice since I can't accompany myself. If you have a choice, I would get the version with the accompaniment CD. If you don't like the CD, you're not out more than a couple of extra dollars over what you pay for just the book.
Book Description
Divas and Scholars is a dazzling and beguiling account of how opera comes to the stage, filled with Philip Gossett’s personal experiences of triumphant—and even failed—performances and suffused with his towering and tonic passion for music. Writing as a fan, a musician, and a scholar, Gossett, the world's leading authority on the performance of Italian opera, brings colorfully to life the problems, and occasionally the scandals, that attend the production of some of our most favorite operas.
Gossett begins by tracing the social history of nineteenth-century Italian theaters in order to explain the nature of the musical scores from which performers have long worked. He then illuminates the often hidden but crucial negotiations opera scholars and opera conductors and performers: What does it mean to talk about performing from a critical edition? How does one determine what music to perform when multiple versions of an opera exist? What are the implications of omitting passages from an opera in a performance? In addition to vexing questions such as these, Gossett also tackles issues of ornamentation and transposition in vocal style, the matters of translation and adaptation, and even aspects of stage direction and set design.
Throughout this extensive and passionate work, Gossett enlivens his history with reports from his own experiences with major opera companies at venues ranging from the Metropolitan and Santa Fe operas to the Rossini Opera Festival at Pesaro. The result is a book that will enthrall both aficionados of Italian opera and newcomers seeking a reliable introduction to it—in all its incomparable grandeur and timeless allure.
Customer Reviews:
A treasure-trove.......2007-07-05
I found this book a true revelation. No review can express just how much valuable information there is in this book. Certainly the earlier reviewer is correct that this is one of the most important books ever written on early nineteenth-century Italian opera. The focus is on Rossini, Donizetti, Bellini, and early Verdi.
Some chapters can be rough going, with a good bit of technical detail. But even the amateur can find much to learn here.
If you're an informed opera-nut, don't miss this one.
Gossett and Opera.......2007-06-01
Probably, this is one of the most important books ever published on the Italian melodrama of the 19th century and its relations to compositional process, composers, editors, conductors, singers and producers. As usual, the approach by Prof. Gossett is comprenhsive, elegant and acurate. For those involved in research on Italian Opera it is a must! The negative point, if relevant, is the prolixity of the text in some sections what, to some extend, is usual in the area of musicological research. Musicologists have some difficulty to go directely to the point,and Gossett is a great musciologist.
Divas and Scholars - a wonderful read........2007-03-16
This book is fascinating for this opera lover, all kinds of facts to learn and gossip to relish.
Average customer rating:
- Great reference.
- It Is Not For Sale
- Diction: Italian, Latin, French, German
|
Diction Italian, Latin, French, German...the Sounds and 81 Exercises for Singing Them
J. Moriarty
Manufacturer: E.C.S. Publishing
ProductGroup: Book
Binding: Paperback
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Diction for Singers: A Concise Reference for English, Italian, Latin, German, French and Spanish Pronunciation
ASIN: 0911318097 |
Customer Reviews:
Great reference........2006-01-12
This is really an excellent text for use both in the classroom and on your own. This is a wonderful way to begin training muscles associated with articulation to pronounce different sounds required for singing in other languages. Moriarty provides an excellent foundation for beginning to learn the International Phonetic Alphabet. This is a great reference for IPA symbols and provides a clear, analytical way for forming, both in the brain and with articulators, pretty much any sound in the languages covered. This is a permanent reference in preparing for accurate performances in foreign languages.
It Is Not For Sale.......2001-06-07
DON'T ASK! IT IS NOT FOR RESALE-....EXCELLENT BOOK!
Diction: Italian, Latin, French, German.......2000-09-01
Considering the plethora of diction books for classical singers on the market, the Moriarty is still the best for a general diction text. In organization, content, and utility, it is by far the text of choice for beginning students. Its exercises clearly and succinctly describe the sounds and symbols of the IPA, and the layout of dicton rules for each language are readily comprehensible by the most inexperienced of students. Highly recommended and it is still offered at a reasonable price in this day of textbook cost inflation.
Book Description
Performed by Kamen Tchanev, tenor Accompaniment: Plovdiv Philharmonic Orchestra Conductor: Nayden Todorov Some of the greatest tenor arias in the Italian repertoire are presented here for your listening and performance pleasure in the company of tenor Kamen Tchanev and the Plovdiv Philharmonic Orchestra. These classics are a vital part of every tenor's repertory. 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.
Book Description
Perform Italian tenor masterpieces with an orchestra! Perfect for practice, rehearsal, auditions, contest solos, performances, and more!
A broad sampling of great Italian arias for tenor & Orchestra. Pure magic, and here's your chance to prove it in the company of the world-famous Sofia National Opera!
Includes an newly engraved sheet music vocal score, printed on high-quality ivory paper; and a CD+G graphics-enabled compact disc with complete versions (with soloist) in digital stereo, followed by digital stereo orchestral accompaniments to each piece, minus the soloist.
Book Description
Twenty great composers of Italian art songs from Scarlatti to Puccini are represented in songs that have been chosen for their appeal to young singers. Musical excerpts studied in Gateway to Italian Diction appear as complete scores.
Book Description
For well over a century, the G. Schirmer edition of 24 Italian Songs and Arias of the 17th and 18th Centuries has introduced millions of beginning singers to serious Italian vocal literature. Offered in two accessible keys suitable for all singers, it is likely to be the first publication a voice teacher will ask a first-time student to purchase. The classic Parisotti realizations result in rich, satisfying accompaniments which allow singers pure musical enjoyment. For ease of practice, carefully prepared accompaniments are also available that were recorded by John Keene, a New York-based concert accompanist and vocal coach who has performed throughout the United States for radio and television. Educated at the University of Southern California, Keene has taught accompanying at the university level and collaborated with Gian Carlo Menotti and Thea Musgrave on productions of their operas.
Customer Reviews:
Essential repertoire for students and teachers........2006-01-08
This book is perfect for both students and teachers. This book has alot of well known pieces and it is essential for any young singers repertoire. It contains songs like "Sebben,crudele by Caldara", "O del mio dolce ardor, by Gluck", and "Caro mio ben, by Giordani". I give this book 5 stars because it was very useful to me throughout highschool,college,and now as a teacher.
The "24" good for teaching only, dubious history, questionable material.......2005-11-19
Although the music in this book has been used "ad infinitum" since the late 1880's, even the most rudimentary scholarship has shown that the editing (and in at least one case, the composition) of these pieces is not to be trusted.
The editor of "The 24" and its sister two volume set "Anthology of Italian song" is Alessandro Parisotti. Mr. Parisotti was a publisher who was suspiciously eager to have his own edited works published. This "24" has its share of dubious songs. Three quick examples:
1.) "Se Tu M'ami" is attributed to Pergolesi, but the style is laughably un-Pergolesi-like. No original of the score exists before Mr. Parisotti "discovered" it in time to publish the original 24. It is quite likely that Parisotti is the composer.
2.) "Il mio bel foco" is fine until the last 11 measures, where once again there is no original of what's in "the 24". It appears that Parisotti sliced, diced and re-composed the last 11 measures including French sixth chords, and a piano accompaniment which is distinctly not from the Baroque era.
3.) "Danza Danza fanciulla..." does have an original; it's all figured bass (no treble accompaniment written at all.) It's OK to place your own accompaniment there, but Parisotti's offbeat (and unnecessarily difficult) accompaniment does not follow the typical contrapuntal style of the Baroque period at all.
There are several other problems with the realizations of these 24 pieces - too many to go into here, but worth exploring in research.
That being said, Parisotti does get credit for at least noticing these pieces and arranging them for student voices (which may or may not have been his intent). The current edition is ridiculously cheap - which actually reflects the rather large (and much improved) collections of Baroque Italian songs that are out there.
It still (for some reason) remains a staple of too many voice teachers out there (possibly because they are "comfortable" in some way), so accompanists should continue to purchase it due to the large number of voice students and performers who (unfortunately) rely on it.
It probably deserves two stars, but because it's receiving way too many five star reviews, I'm giving it just one.
Great Book.......2005-10-02
This book is great for the beggining singer or the advanced singer. I'm using it to develop a singing technique. Its great for tenors and sopranos a like.
ABSOLUTE NECESSITY.......2003-12-06
After 15 years, I have yet to begin a voice student without this book. I can't imagine a voice teacher who wouldn't have a student use this collection. I would recommend that you purchase your book new since you will want to make your own notations, phrase markings, etc.
Oh - and check out Ceclia Bartoli's interpretations of these pieces!
A classic.......2003-02-10
For any beginning singer, this is a must have. It teaches the basics of necessary Italian singer. After a few years, it becomes exhausted do to the overuse of the songs within, however, a necessity for any beginning!
Customer Reviews:
Excellent Reference Edition.......2005-03-25
There is a gentle war amongst voice teachers and students about which version of the "Arie Antiche" are best. Some prefer the older Schirmer "24 Italian Songs and Arias" edition. Other prefer this edition, complied by John Glenn Paton (who also was editor for the Schirmer edition of the Vaccai "Practical Method for Italian Singing") from primary material in the private collections of Europe and the United States. The edition comes complete with suplimentary material and documentation that may be quite helpful toa singer approaching this music for the first time.
This music is often classified as "aira antiche" - or, "old songs." They are arias, madrigals, little songs, and showpieces taken from early opera. The most comprehensive edition is that of G. Ricordi compiled (and arranged) by Parisotti found in three volumes. Schirmer selected several songs from this collection and reprinted them in the United States - they are the exact same arrangements, however. The Paton edition (found here) harked back past Parisoti to the original source material.
So, are these arrangements different from the Schirmer edition? Many of them are. "Quella fiamma", "Tu lo sai", "Non posso disperar", and "Se tu m'ami" sound just about the same in this edition. "Sebben Crudele", "O cessate di piagarmi", "Caro mio ben", "Amarilli, mia bella", "Nel cor piu non mi sento", "Vittoria mio core", and "Gia il sole" sound like completely different songs. The arrangments are actually easier for the pianist, but the voice part is often obscured by strange ornamentation.
The edition comes also with an introduction for each song - containing a brief biographyof the composer, a synopsis of what is going on in the opera that the song is from, and an explanation of where the arrangement presented comes from. In addition, it comes with an IPA transliteration of the text (helpful for intermediate singers, well versed in the IPA system but can often confuse newcomers), a literal word-for-word translation, a rhyming singable translation, and a brief sumary translation of the work that sums up the "big idea" preventing the singer from misinterpreting the song completely. In addition, there is some nice introductory material by Paton on the performance practices of the 17th and 18th century court musicians, and on Italian singing in general.
I recomend this edition for those new to singing as a reference - the arrangements are a bit off-putting for many, however. The Parisotti arrangements (in the Schirmer edition) will attract a more sympathetic ear. I find myself migrating back and forth between this edition and the Schirmer depending on the song. I have foudn the supplimentary material is very useful for reference. The compact disc that comes with this edition is better than the one that comes with the Schirmer edition - they are played at reasonable (though not ideal) tempi at least. The concientious singer will purchase both editions. The medium high version is best for those who can sing up to an A above middle-C comfortably. The medium high is best for those who can sing up to an E above-middle-C comfortably.
Ideal Singing Investment.......2004-04-05
This is a great collection of early Italian songs. Unlike the 24 Italian Songs and Arias published by Schirmer, this anthology consists of original historically accurate versions of the songs,as the composer wrote them. The other book has arrangements of the songs that were not at all what the composer had written. Furthermore, this book provides pages of biographical data of the composer, the source of the work, and what the work is about. Plus, it includes a word by word translation and phonetic symbols to help pronounce the Italian text. Beyond that, the songs also have a non literal translation that makes more sense to an English native, and there is a singable text in English as well. Beyond all that, there is an appendix on Italian Singing and pronunciation. Moreover, having it with the CD makes hearing how the accompaniment sounds, as well as the feel of the piece very accessible if you do not have a pianist with you, do not have piano skills youself, or do not even have a piano!
This is an ideal investment for all singers.
Yes!.......2002-08-04
Get this book if you are taking voice lessons or aspiring to be an opera singer/star. This is the book. The arrangements in the Yellow book--"24 Italian Songs and Arias" are really bad. Don't waste your time. Just get this one. However if you need the sheet music to "Pieta, Signore" get the yellow one as well.
~Adele
Great Book.......2001-06-08
The accompanyment CD is TOO FAST! However Cecilia Bartoli's CD- If you Love Me- contains 6 or 7 of the best arias if you are intersted in hearing vocals.
5 Starts But With a Qualification.......2001-03-12
I own both this 26 song book/Cd as well as the 24 song book/CD from John Keene and Schirmer. I use the John Paton 26 song version in order to read the excellent one page introductions it provides for each song.. However my singing teacher feels that the piano accompaniments in the Paton book are pretentious, and he prefers the piano accompaniments in the Keene/Schirmer book. So, I use the CD and music from the Schirmer book but I do my research via the Paton book. The Keen/Schirmer book has a lot less melody ornamentation than the John Paton book. In my opinion, which is the opinion of a beginner, the ornamentation added to the melody in the John Paton book is excessive and is also confusing in that he never explains how to reconcile all the little notes he added, to the larger font melody notes that often seem to be at odds with the tinier notes. What is deeply, desperately need, I strongly feel, is a recording of tenors, sopranos, and baritones actually singing all 24 (or 26) of these songs! Please, if anyone knows of the existance of such as recording, post it in a user review. It would be a tremendous help. Also, note that in both the Keene/Schirmer version and the John Paton version, the piano accompaniment often does not include the melody. So, it can be "dicey" when trying to learn one of the songs to figure out the melody if the only resource available is the accompanying CD. Personally, I record the melodies into a sequencer program on my PC via a midi attached digital keyboard, but the average singer is not likely to have the technical expertise to do that. It would have been very helpful if the accompanying CD's had recorded each song twice, the second time with the melody superimposed on top of the accompaniment. My singer teacher tells me that these 24 (or 26) songs are the "bible" among singing students. Thus, a singing student really has no choice but to buy at least one of these two editions.
Book Description
Lucie Manen presents the findings of her extensive investigation into the original Italian art of Bel Canto singing. After summarizing the history of Bel Canto and some mistaken teaching methods, she describes in detail her own research into the physiological aspects of Bel Canto - from posture and breathing to details of messa di voce and coloratura. This is a completely revised and expanded version of Lucie Manen's The Art of Singing: A Manual of Bel Canto (Faber Music Ltd, 1974; 2nd edition 1981). It is illuminated throughout by the author's practical and musical insights, and illustrated with exercises from original Bel Canto manuals. `The publication of this book must surely herald a change of attitude. Lucie Manen's clear exposition of her solidly grounded theories and well-tried practice will prompt wise, healthy, and positive questioning of established methods, and should serve to bring about a long-overdue revolution in that least-regulated of all professions, the teaching of singing.' (From the Preface by Brian Trowell) `Lucie Manen has more qualifications than any singer I have ever met for writing a Manual for singers. There have been learned books on the voice but the authors have not been singers; there have been biographies and autobiographies whose subjects have revealed a personal secret or two. But there have been few who have combined experience as a singer with a deep and wide learning so convincingly as Madame Manen.' Peter Pears
Book Description
A Handbook of Diction for Singers is a complete guide to achieving professional levels of diction in Italian, German, and French, the major languages of the classical vocal repertory. Written for English-speaking singers, it is an ideal textbook for students of diction and is also invaluable for voice teachers, vocal coaches, and conductors. This unique book combines traditional approaches proven successful in the teaching of diction with important new material not readily available elsewhere. Employing the universally accepted International Phonetic Alphabet (IPA), it presents the sounds of each language in logical order, along with essential information on matters such as diacritical marks, syllabification, word stress, and what to look for in dictionaries. A Handbook of Diction for Singers offers thorough and consistent explanations of Italian, German, and French pronunciation issues that typically create the most difficulty for English-speaking singers. It goes into greater detail than comparable texts, providing specific information and discussion of concepts especially important to singers. For Italian, it presents extensive coverage of the execution of phrasal diphthongs, as well as a detailed guide to the occurrences of open and closed e and o. For German, the question of when to use glottal attacks in singing is thoroughly discussed, as is the execution of phrasal consonant clusters. The French chapter gives many examples of the correct approaches to mute e (schwa) and glides, and also concisely but thoroughly presents liaison. Particular emphasis is placed on the characteristics of vowel length in all three languages. Illustrated with numerous examples and exercises, A Handbook of Diction for Singers is an exceptional text for courses in diction and a valuable reference source.
Customer Reviews:
Excellent Reference for All Singers.......2004-04-29
Professor David Adams skillfully offers keen insight into the basics of Italian, German, and French diction. In addition to covering the most general rules, he goes on to explain common exceptions and more elusive nuances of each language within the context of a singer's perspective. Some familiarity with the International Phonetic Alphabet is helpful but not necessary.
This book will prove a tremendous asset for any singer whose goal is more than simply singing correct notes. It will assist in adding that element of expression only possible with the clarity of the text as it was intended by the composer.
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