Bass (With Online Accompaniments)-The vocal and musical abilities of high school and college singers have guided the song choices in this series. These volumes introduce classical voice students to American art song with some of the most often studied music in the genre. The Tenorand Baritone/Bass volumes have the same song list but in different keys. The same is true of the Soprano and Mezzo-Soprano/Alto song lists.

Baritone and Piano. G. Schirmer is proud to announce the publication of a set of five concert arias from Harbison's powerful new opera The Great Gatsby based on F. Scott Fitzgerald's famous novel about the dark side of theAmerican Dream. The Great Gatsby was commissioned and premiered by the Metropolitan Opera where these arias were performed by Dawn Upshaw Jerry Hadley and Lorraine Hunt Lieberson.

Une superbe collection de 35 songs from 24 comédies musicales pour la voix de baryton basse. Ces versions authentiques, dans leurs clés originales sont idéales pour les chanteurs classiques et les artistes de théâtre. Comprend également des notes de chanson de fond utile. / Voix / 220 pages / Partition

The composer Rudolf Kelterborn about his work: ?I call the ten compositions for baritone and piano ?DUOS? because the voice and instrument parts are treated musically with absolute equality and indeed often go their own independent ways. Two duos (?Alles Gold? and ?Gegenlicht in den Bergen?) come from the ?Ensemble-Book I? for baritone and 14 instruments with texts by Erika Burkart (1990).

The 10 duos do not form a complete cycle that can be heard only as an entire work.

Smaller groups can be put together and presented according to text-related or musical aspects. The texts are by authors who have continued to inspire me for years.? / [10 Duos Pour Baryton et Piano] / Classique / Partition / Agrafé /

Composer's Notes:Heavenly Things is my fourteenth song-cycle but the first with piano accompaniment. I mention this because when I was asked to write this piece my first reaction was ‘what can I make of amedium that seems to me quintessentially 19th century’ and I was doubtful that I could produce anything that I would be happy with. Then I went to hear Christopher Maltman and Malcolm Martineau and was so impressed by the magicand intensity of their performance that I saw a ‘way in’ to what at first had seemed a problem. The choice of poems was obviously going to be crucial and I chose the Donne Holy Sonnets because of the dramatic possibilities theyoffer and the huge range of emotion that they encompass. In these settings the piano is always more than a mere accompaniment it tends either to be in dialogue with the voice or to have its own musical agenda which the voicereacts to in an independent but parallel way. Geoffrey Burgon

The Singer's Musical Theatre Anthology - Volume 3. 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. Revised Edition.

Ah! Per sempre io ti perdei (from I Puritani) (Bellini) - Alla vita che t'arride (from Un Ballo In Maschera) (Verdi) - Bella siccome un angelo (from Don Pasquale) (Donizetti) - Cortigiani, vil razza dannata (from Rigoletto) (Verdi) - Credo in un Dio crudel (from Otello) (Verdi) - Cruda, funesta smania (from Lucia Di Lammermoor) (Donizetti) - Dio di Giuda! (from Nabucco) (Verdi) - Di Provenza il mar, il suol (from La Traviata) (Verdi) - Eccomi solo alfine... O vecchio cor, che batti (from I Due Foscari) (Verdi) - Eri tu che macchiavi quell'anima (from Un Ballo In Maschera) (Verdi) - Gran Dio!... Oh de' verd'anni miei (from Ernani) (Verdi) - Il balen del suo sorriso (from Il Trovatore) (Verdi) - Il cavallo scalpita (from Cavalleria Rusticana) (Mascagni) - Largo al factotum (from Il Barbiere Di Siviglia) (Rossini) - Ma de' malvagi/Vien Leonora, a' piedi tuoi (from La Favorita) (Donizetti) - Morir!... Tremenda cosa!.../ Urna fatale del mio destino (from La Forza Del Destino) (Verdi) - O Carlo ascolta... Io morrò (from Don Carlo) (Verdi) - O! Du mein holder Abendstern (from Tannhauser) (Wagner) - Pari siamo (from Rigoletto) (Verdi) - Pescator, affonda l'esca (from La Gioconda) (Ponchielli) - Pietà, rispetto, amore (from Macbeth) (Verdi) - Resta immobile (from Guglielmo Tell) (Rossini) - Si può'... Un nido di memorie (from I Pagliacci) (Leoncavallo) - Tre sbirri... Una carrozza... (from Tosca) (Puccini) - Udite, udite, o rustici (from L'Elisir D'Amore) (Donizetti) - Votre toast, je peux vous le rendre (from Carmen) (Bizet)

Cette remarquable série ouvre des perspectives passionnantes du répertoire stimulante et enrichissante pour le chanteur sagace et aventureux. Comme pour les volumes de compagnon Peters de français Operatic Arias, cette série russe présente bon nombre des airs célèbres à juste titre, mais aussi leur juxtapose avec autres gemmes moins familiers, dont undoutedly méritent une reconnaissance plus large. Une grande partie du répertoire sélectionné est parfaitement adaptee aux fins de l'audition, afin que chaque volume est un Trésor pour les chanteurs professionnels et des étudiants. / Voix Et Piano