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| Arias
• most of the arias may be performed with piano or with orchestral accompaniment
• orchestral parts on rental
• custom print selections may be sold if no published piano/vocal score is available
for sale |
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| arias for mezzo-soprano voice |
| Before Breakfast |
music by Thomas Pasatieri
libretto by Frank Corsaro
based on the play by Eugene O'Neill |
| the opera: A lonely alcoholic addresses her off-stage husband while she prepares breakfast, and in so doing we learn of the dreams she envisioned for her life and the disappointments that ultimately filled it. |
[show arias]
| monodrama (complete) |
character: Charlotte
voice: soprano or mezzo-soprano
dur: 36’
 |
| I keep whirling around (excerpt) |
character: Charlotte
voice: soprano or mezzo-soprano
dur: 2’
the aria: Charlotte remembers competing in a dance marathon. |
| I know what I’ve become (excerpt) |
character: Charlotte
voice: soprano or mezzo-soprano
dur: 3¾’
the aria: Charlotte is consumed first by self-pity, then by anger at her husband. |
published by Theodore Presser
orchestral parts on rental
sale: piano/vocal score 411-41111 |
[close arias] |
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| Between Two Worlds (The Dybbuk) |
music by Shulamit Ran
libretto by Charles Kondek
after the play by S. Ansky |
| the opera: Drawn from an Eastern European Jewish folk-tale, the opera tells of Leya, who is about to enter an arranged marriage. Leya, however, is in love with Khonnon, and after he dies, becomes possessed of his soul. The arranged marriage proceeds, but during the ceremony, Leya cries out in a voice not her own that she is already spoken for, and the wedding is interrupted in order to carry out an exorcism. The spirit (“dybbuk”) is finally exorcised from her body, but before the marriage continues, Leya rests, exhausted. Khonnon appears to the sleeping Leya, and tells her that though he may have left her body, he is now part of her soul. The lovers embrace. |
[show arias]
| Let your heart be as light as down (Act II) |
character: Freyde
voice: mezzo-soprano
dur: 1½’
the aria: After the exorcism, the dybbuk is gone, and an exhausted Leya lies cradled in the arms of her old nurse, Freyde, who sings a lullaby. |
published by Theodore Presser
orchestral parts on rental |
[close arias] |
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| Dr. Faustus Lights the Lights |
music by Stanley Walden
libretto by Gertrude Stein |
| the opera: The Faust story weaves in and out of an absurdist plot (the text is by Gertrude Stein, after all) to be enjoyed “in the moment.” Faust has sold his soul for the discovery of electric light (which he now realizes is not all that necessary) and therefore may not be able to go to hell, a consummation that he devoutly wishes — after all, one must have a soul for true damnation. |
[show arias]
| I am I (#6) |
character: MIHA
voice: mezzo-soprano deep chest "pop" range
dur: 6¼’
the aria: The young woman known as MIHA (Marguerita Ida and Helena Annabel) is having crises of identity and confidence, and becomes increasingly desperate. |
published by Theodore Presser
orchestral parts on rental
orchestral piano part may be used as piano/vocal score |
[close arias] |
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| Esther |
music by Hugo Weisgall
libretto by Charles Kondek
after the Biblical story |
| the opera: The Biblical story of Esther: a story of self-sacrifice, courage, and ultimately, triumph. King Xerxes of Persia has renounced his wife, Vashti, who plots revenge. However, the plot is discovered by Mordecai, the uncle of Esther. When Mordecai refuses to be subservient to Haman, the King's Prime Minister, Haman vows to kill all the Jews in the kingdom, which Xerxes signs into law. Esther, summoned to the royal harem against her will, has become Xerxes' beloved Queen. Risking death for approaching the King without a summons, Esther begs a favor, which she is granted. She reveals that she, too, is Jewish, and demands the death of Haman and requests that the Jews be allowed to defend themselves. The opera ends in a victorious mood of triumph over adversity. |
[show arias]
| My rightful place (Act I, Sc. iv) |
character: Vashti
voice: mezzo-soprano
dur: 1½’
the aria: Vashti is angered over her rejection by her husband, King Xerxes, and plots revenge. |
published by Theodore Presser
orchestral parts on rental
complete piano/vocal score or extracted aria on rental, but can also be made available for purchase |
[close arias] |
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| The Grapes of Wrath |
music by Ricky Ian Gordon
libretto by Michael Korie
after the novel by John Steinbeck |
| the opera: Based on John Steinbeck’s award-winning novel about a poor family of sharecroppers from Oklahoma who, in order to escape the Dust Bowl, poverty, and changes in the agricultural system, journey to California during the Great Depression in search of a better life. |
[show arias]
| Truck Drivers (Act II, Sc. ii) |
character: Mae
voice: mezzo-soprano
dur: 4' 30"
the aria: At a diner on Route 66 near the Mojave desert, Mae, a seasoned waitress, takes the order of a few Truckers at the counter. |
published by Carl Fischer
orchestral parts on rental
sale: piano/vocal score VF19 (The Grapes of Wrath: Solo Aria Collection); also includes:
Promise Me, Tommy (Ma Joad, mezzo-soprano)
Sit Quiet, Grampa (Gramma Joad, mezzo-soprano)
Us (Ma Joad, mezzo-soprano)
Simple Child (Ma Joad, mezzo-soprano)
Fired Dough (Ma Joad, mezzo-soprano) |
[close arias] |
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| Marrying the Hangman |
music by Ronald Caltabiano
libretto by Margaret Atwood
adapted by Benjamin Twist & Ronald Caltabiano |
| the opera: 1738: Françoise Laurent is in a Québec prison, sentenced to hang for stealing. In eighteenth-century Québec, the only way for someone under sentence of death to escape hanging was, for a man, to become a hangman, or, for a woman, to marry one. Françoise persuades Jean Corolère, in the next cell, not only to apply for the vacant post of executioner, but also to marry her. |
[show arias]
| monodrama (complete) |
character: Françoise
voice: mezzo-soprano
dur: 45’
 |
published by Merion Music
orchestral parts on rental
piano/vocal score can be made available for purchase |
[close arias] |
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| Mrs. President |
music by Victoria Bond
libretto by Hilary Bell |
| the opera: In 1872, Victoria Woodhull ran for President against Ulysses S. Grant on the Equal Rights Party ticket. Her platform included women’s suffrage and many other much-needed social reforms, but also included the inflammatory issue of free love and equality between the sexes. She famously challenged Henry Ward Beecher on his personal actions, which were at odds with his public denouncement of her views; but Victoria and Henry also had other things in common… |
[show arias]
| Hot off the press! (Act I, Sc. iii) |
character: Victoria
voice: soprano spinto [or high mezzo]
dur: 4’
the aria: Having realized the power of the press for disseminating her ideas on equality for women and all people, Victoria rushes into a meeting of spiritualists, brandishing the inaugural copy of "Woodhull's Weekly." The group of spiritualists waver between between being suspicious of and excited by the new publication. |
| I'm told I'm a citizen (Act II, Sc. ii) |
character: Victoria
voice: soprano spinto [or high mezzo]
dur: 4'
the aria: In Steinway Hall, Victoria speaks out against the political and social injustices towards women, and announces her intention to run for President. |
published by Theodore Presser
orchestral parts on rental
complete piano/vocal score or extracted aria on rental, but can also be made available for purchase |
[close arias] |
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| The Seagull |
music by Thomas Pasatieri
libretto by Kenwood Elmslie
after the play by Anton Chekhov |
| the opera: Chekov's dark tale of unrequited love. |
[show arias]
| I'm an actress (Act III) |
character: Nina
voice: soprano or lyric mezzo-soprano
dur: 3’
the aria: Nina confesses to Constantine that she still loves Trigorin, although he abandoned her, and she reflects on how being an actress has given her strength. |
published by Theodore Presser
orchestral parts on rental
sale: piano/vocal score 411-41107 |
[close arias] |
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