SKU: SU.00220511
This CD Sheet Music™ collection brings together over 100 arias for soprano, with piano accompaniment, from 18th, 19th and early 20th century operas. Composers include: Beethoven, Bellini, Bizet, Boito, Catalani, Cilea, Delibes, Donizetti, Dvorák, Flotow, Giordano, Gluck, Gounod, Handel, Korngold, Lehar, Leoncavallo, Mascagni, Massenet, Méhul, Meyerbeer, Mozart, Mussorgsky, Nicolai, Offenbach, Ponchielli, Puccini, Purcell, Rossini, Smetana, J. Strauss, R. Strauss, Sullivan, Tchaikovsky, Thomas, Verdi, Wagner, Weber Plus, nearly 100 early Italian songs and arias (high keys) by over forty 17th century composers, including Bononcini, Caccini, Carissimi, Cavalli, Frecobaldi, Gluck, Lotti, Monteverdi, Pasiello, Pergolesi, Peri, Scarlatti, Stradella, Strozzi, and Vivaldi Added feature: alphabetical index by title Also includes: relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1300+ pages
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: PR.411411690
UPC: 680160686032.
The four name arias in HARRIET TUBMAN: When I crossed that Line To Freedom, portray stages in the title character's transformation from slave to freedom-fighter. First, as a child, she introduces herself as Araminta, who is often called, Minty. Her naive prattlings establish a dramatic contrast between childhood's contentment and the harsh realities of slave existence. My name is Harriet, now. Don't call me Minty any more, declares the teenaged heroine. Having survived a series of abusive masters and a debilitating injury, she asserts her rites of womanhood through the shedding of her childhood moniker. The grown Harriet Tubman reintroduces herself as a free woman, recounting the harrowing tale of escape from slavery. Confronted by bittersweet poignancy at having crossed the line to freedom without family to welcome her, she is inspired towards a new goal: returning home to rescue loved ones. In the final aria, Tubman, a seasoned conductor on the Underground Railroad, embraces the folkloric title given to her by escapees and aspiring runaways. I am 'Moses, the Liberator,' she proclaims. Her transformation is complete.The four “name” arias in HARRIET TUBMAN: When I crossed thatLine To Freedom, portray stages in the title character's transformationfrom slave to freedom-fighter.First, as a child, she introduces herself as “Araminta,” who is oftencalled, “Minty.” Her naïve prattlings establish a dramatic contrastbetween childhood's contentment and the harsh realities of slaveexistence.“My name is Harriet, now. Don't call me Minty any more,” declares theteenaged heroine. Having survived a series of abusive masters and adebilitating injury, she asserts her rites of womanhood through theshedding of her childhood moniker.The grown Harriet Tubman reintroduces herself as a free woman,recounting the harrowing tale of escape from slavery. Confronted bybittersweet poignancy at having crossed the line to freedom withoutfamily to welcome her, she is inspired towards a new goal: returninghome to rescue loved ones.In the final aria, Tubman, a seasoned conductor on the UndergroundRailroad, embraces the folkloric title given to her by escapees andaspiring runaways. “I am 'Moses, the Liberator,'” she proclaims. Hertransformation is complete.
