Vilia

From the youthful exuberance of Abduction from the Seraglio to the spectacular romanticism of The Magic Flute, Mozart's operas have enchanted audiences for more than 200 years. This handsome and inexpensive compilation encompasses 36 arias from such all-time favorites as The Marriage of Figaro, Così fan tutte, The Magic Flute, and Don Giovanni. Content : IDOMENEO, RÈ DI CRETA / IDOMENEO, KING OF CRETE K366 Ilia's recitative and aria, Act I [1] Quando avran fine omai?Padre, germani, addio! Elettra's aria, Act I [2] Tutte nel cor vi sento Ilia's aria, Act II [3] Se il padre perdei Elettra's aria and marcia, Act II [4] Idol mio, se ritroso altro amante?Odo da lunge armonioso suono Ilia's aria, Act III [5] Zeffiretti lusinghieri Elettra's aria, Act III [6] D'Oreste, d'Ajace DIE ENTFÜHRUNG AUS DEM SERAIL / THE ABDUCTION FROM THE SERAGLIO K384 Konstanze's aria, Act I [7] ach ich liebte Blonde's aria, Act II [8] Durch Zärtlichkeit und Schmeicheln Konstanze's recitative and aria, Act II [9] Welcher Wechsel herrscht in meiner Seele?Traurigkeit Konstanze's aria, Act II [10] Martern aller Arten Blonde's rondo, Act II [11] Welche Wonne, welche Lust LE NOZZE DI FIGARO / THE MARRIAGE OF FIGARO K492 Cherubino's aria, Act I [12] Non sò più cosa son, cosa faccio Countess Almaviva's aria, Act II [13] Porgi, amor Cherubino's arietta, Act II [14] Voi che sapete Susanna's aria, Act II [15] Venite, inginocchiatevi! Countess Almaviva's recitative and aria, Act III [16] E Susanna non vien??Dove sono?Ah! Se almen la mia costanza Barbarina's cavatina, Act IV [17] L'ho perduta! Me mechina! Susanna's recitative and aria, Act IV [18] Giunse al fin il momento?Deh vieni, non tardar DON GIOVANNI K527 Donna Elvira's aria, Act I [19] Ah! Fuggi il traditor! Donna Anna's aria, Act I [20] Or sai chi l'onore Zerlina's aria, Act I [21] Batti, batti Zerlina's aria, Act II [22] Vedrai, carino Donna Elvira's recitative and aria, Act II [23] In quali eccessi Mi tradì Donna Anna's recitative and aria (rondò), Act II [24] Crudele??Troppo mi spiace?Non mi dir COSÌ FAN TUTTE K588 Dorabella's recitative and aria, Act I / Scene 3 [25] Ah scostati?Smanie implacabili Despina's aria, Act I / Scene 3 [26] In uomini, in soldati Fiordiligi's recitative and aria, Act I / Scene 3 [27] Temerari, sortite?Come scoglio?Rispettate, anime ingrate Despina's aria, At II / Scene 1 [28] Una donna a quindici anni?Dee in un momento Fiordiligi's rondò, Act II / Sce [29] Per pietà, ben mio, perdona?A chi mai mancò Dorabella's aria, Act II / Scene 3 [30] È amore un ladroncello DIE ZAUBERFLÖTE / THE MAGIC FLUTE K620 The Queen of the Night's recitative and aria, Act I [31] O zitt're nicht, mein lieber Sohn!?Zum Leiden bin ich auserkoren The Queen of the Night's aria [32] Der Hölle Rache Pamina's aria, Act II [33] Ach, ich fühl's LA CLEMENZA DI TITO K621 Vitellia's aria, Act I [34] Deh se piacer mi vuoi?Che ceicamente crede Servilia's aria-minuet, Act II [35] S'altro che lagrime Vitellia's recitative obbligato and rondò, Act II [36] Ecco il punto, O Vitellia?Non più di fiori vaghe catene

Tie a Yellow Ribbon Round the Ole Oak Tree is a song written by Irwin Levine and L. Russell Brown and performed by Tony Orlando and Dawn. It was a worldwide hit for the group in 1973. In 2008 Billboard ranked the song as the 37th biggest song of all time in its issue celebrating the 50th anniversary of the Hot 100. Tie a Yellow Ribbon Round the Ole Oak Tree has been covered numerous times and the symbol of a yellow ribbon became widely known in civilian life in the 1970s as a reminder that an absent loved one either in the military or in jail would be welcomedhome on their return. The iconic hit song is arranged here for Piano Voice and Guitar (Boxed Symbols).

(from Requiem for Peace)-Part of a larger work Requiem for Peace this piece was built on a cantus firmus melody by Kuni Murai and honors the suffering civilians of the world who have been caught in the cross fire between warring nations. Duration: ca.5:00. Recording used by permission of Larry Nickel.

Invictus was commissioned by the United States Army Ground Forces Bands commander and conductor Major Otis C. French and is dedicated to various units of the Forces Command including the Active Army Army National Guard Army Reserve Combat Forces Combat Support Forces Combat Service Support Forces and the Civilian Forces. This work is passionate powerful and turbulent with a real victorious feel!

The name John Philip Sousa is no stranger to any brass band aficionado. Our Flirtations has its origins in incidental music written by Sousa for a play of the same name. It was written around 1880 about the time he was appointed Director of the U.S. Marine Band a position he held until he formed his own civilian band in 1892. Sousa wrote over 130 marches many of which have been transcribed for brass band.

Une excellente collection du répertoire standard experte arrangé pour le soliste commence avec accompagnement de piano dans des formats imprimés et enregistrés numériquement. / Trompette

Ce volume contient une grande variété de matériaux allant des oeuvres des compositeurs classiques aux chansons et mélodies plus légers. Une collection plus utile pour les enseignants privés, des écoles et des musiciens aussi bien. Comprend l'accompagnement au piano et une partie de la clarinette distincts. Edité par Jay Arnold. / Clarinette / 192 pages / Partition

Contains 81 celebrated themes from works by the master composers. Arranged and edited by Denes Agay. / Piano

lyric. The OperAria repertoire collection for all voice genres that was successfully launched last year has produced lyrical soprano progeny: From Adele to Zerbinetta, from Pamina to Mimi and Ellen Orford - the first two (of altogether four) soprano volumes contain a representative sampling of important arias from the multifaceted lyrical repertoire. Classical audition arias can be found there, just as vocal gems from opera rarities and arias of classical modernity, each one obviously reliably and carefully edited. Accessorizing one's own lyrical voice, the singer will find a wealth of material such as: information on the composer, the librettist, the work, the vocal range, on questions concerning versions and scoring as well as on the storyline, along with instructive tips from a singer's viewpoint provided by experienced voice teachers and a Phonetics Text Assistant on CD-ROM with diverse possibilities of use. OperAria is the ideal vocal coach for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. / Date parution : 2019-09-06/ Recueil / Soprano Lyrique