French Operatic Arias for Baritone
19th Century Repertoire
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- Composers: Camille Saint-Saëns (1835-1921), Emmanuel Chabrier (1841-1894), Ambroise Thomas (1811-1896), Hector Berlioz (1803-1869), Giuseppe Verdi (1813-1901), Giacomo Meyerbeer (1791-1864), Gioachino Rossini (1792-1862), Georges Bizet (1838-1875), Léo Delibes (1836-1891), Charles Gounod (1818-1893), Jules Massenet (1842-1912), Jacques Offenbach (1819-1880)
- Editor: Roger Nichols
- Instrumentation (this edition): Piano Reduction, Baritone
- Originally for: Opera
- Work Language: French
- ISMN:
- Size: 9.0 x 12.0 inches
Description
Complete with translations and guidance on pronunciation.
'As every singer and lover of French opera knows, editions of even the best-known French operatic arias are difficult (and sometimes expensive) to obtain. Roger Nichols' scrupulously balanced selection of 19th-Century French arias provides the perfect starting point for wider exploration. Nichols, who has championed French Music in his writings, talks, and radio broadcasts over three decades with eloquence and scholarship, is the ideal guide to this repertoire, which, even today, is often neglected, misunderstood, or inadequately performed.'
Works:
- Berlioz: Un puce gentile from La damnation de Faust, H 111, Op. 24
- Berlioz: Devant la maison from La damnation de Faust, H 111, Op. 24
- Bizet: Votretoast, je peux vous le render from Carmen
- Bizet: Elle sortait de sa demeure from La jolie fille de Perth
- Bizet: Ô Nadir from Les Pêcheurs de perles (The Pearl Fishers)
- Chabrier: Le Polonais est triste et grave from Le roi malgré lui (1887)
- Delibes: Il est jeune from Jean de Nivelle
- Gounod: Avant de quitter ces lieux from Faust, CG 4
- Gounod: Qu’ils sont doux from Le médecin malgré lui
- Gounod: Ô Xaïma from Le tribut de Zamora
- Gounod: Si les filles d'Arles from Mireille
- Gounod: Mab, lareine des mensonges from Roméo et Juliette, CG 9
- Massenet: Vision fugitive from Hérodiade
- Massenet: Promesse de mon avenir from Le roi de Lahore
- Massenet: Épouse quelque brave fille from Manon
- Meyerbeer: Fille des rois from L'Africaine
- Offenbach: Tourne,tourne, miroir from Les contes d'Hoffmann (The Tales of Hoffmann)
- Rossini: Sois immobile immobile from Guillaume Tell (William Tell)
- Saint-Saëns: Qui donc commande from Henry VIII
- A. Thomas: Comme une pale fleur from Hamlet
- Verdi: C’est mon jour supreme from Don Carlos
- Verdi: Au sein de lapuissance from Les vêpres siciliennes
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
French Operatic Arias for Baritone
