This was my signature song. I adored this song. I got to compose the coloratura parts in this piece. I showed off my high register. The end note is a high C and I do hit an D above High C in one of the runs. This was a song that Beverly Sills sang at many of her concerts. Since she was an idol of mine since High School, I wanted to sing a song that she performed. Of course, not was well, but it was so much fun learning it and performing the wonderful aria.
The piece opens with a hurried piano introduction that immediately sets a theatrical mood, with dramatic chords. The vocal melody is first taken at a quick pace and is generally simple, though it ends with a few rather theatrical reprises with dramatic changes of dynamics and tempo. The da capo repetition ends with overtly operatic touches from both voice and accompaniment, including the traditional operatic thundering flourish of an ending from the piano. ~ All Music Guide
The first of two Samuel Barber songs. Written in 1937. Samuel Barber was born in West Chester, Pennsylvania, USA on 9 March 1910. His musical ability emerged at an early age and he had already filled a post as an organist when he was twelve
This French song was fun. Written by Paladella, which sounds Italian. I got to use my chest voice. However, three weeks after my recital, I was playing the recording and the tape broke. You can hear the break in the first couple of notes I sin
A German song by Hugo Wolf. One of Hugo Wolf's most popular songs, Verborgenheit -- which might be translated as either seclusion or withdrawal -- is atypical of the composer's style. Constructed on an ABCA progression, its first and final sections are essentially the same. The second section moves from the sense of withdrawal from the world voiced in the first portion to a more agitated, questioning mode before a key shift into the third section, which rises from a deeply inward feeling to a radiant, yet controlled climax on the word "wonniglich" ("joyous brightening") before receding into "in meiner brust" ("within my breast"). In that portion of the song, Wolf takes the voice from the lower middle register to a crest of sound and emotion that lifts the singer, accompanist, and mood into a major key. - answers.com
This is my duet with Jill. I sang the alto part and she was the soprano. A wonderful Mozart piece and lots of fun to sing!
The second of Samuel Barber, detailing the crucifixion. The text for The Crucifixion derives from an ancient collection of Irish homilies known as The Speckled Book (Leabhar Breac). They were written partly in Latin and partly in Irish and constitute the most remarkable Irish ecclesiastical record of the period. An unknown Christian scribe wrote the vivid words of this passion scene sometime in the 12th century. The "cry of the first bird" is a musical motif throughout the brief composition.