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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 soprano voice |
| Anna Karenina |
music by David Carlson
libretto by Colin Graham
after the novel by Leo Tolstoy |
| the opera: The tragic story of Anna Karenina and the fatal affair with Count Vronsky which destroys her marriage and separates her from her son. |
[show arias]
| Anna's final scene (Act II, Pt. 6, Sc. ii) |
character: Anna
voice: soprano
dur: 6’
the aria: In fear that she has been abandoned forever, Anna has followed Vronsky to the station; in her despair, reality and her dreams intermingle in a hallucinatory way. She contemplates her bleak future as a train is approaching, and realizing that death would release her from her anguish, she throws herself beneath the train. |
| Heavens, how bright it is (from Anna's final scene, Act II, Pt. 6, Sc. ii) |
character: Anna
voice: soprano
dur: 2½’
the aria: As Anna sees the lights of an approaching train, she experiences a figurative enlightenment as she realizes that death would release her from her anguish, and she throws herself beneath the train. |
published by Carl Fischer
orchestral parts on rental from Theodore Presser
complete piano/vocal score or extracted aria on rental, but can also be made available for purchase |
[close arias] |
|
| 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: 3 3/4'
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] |
|
| La Divina |
music by Thomas Pasatieri
libretto by Thomas Pasatieri |
| the opera: A stellar, but aging, coloratura diva faces her farewell performance with fear for a future without fame and glamour. The relief felt by her maid and manager that the prima donna’s temperament and star complex will now be at an end is short lived when the diva announces she will sing yet another “farewell” concert next week. |
[show arias]
| The Great Adelina |
character: Madame Adelina Altina
voice: soprano
dur: 6½’
the aria: Madame Adelina is unwilling to give up the adulation of an adoring public; but once alone, she reveals her vulnerability as she tries to cope with facing the realities of age. |
published by Theodore Presser
orchestral parts on rental
sale: piano/vocal score 411-41025 |
[close arias] |
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| The Hotel Casablanca |
music by Thomas Pasatieri
libretto by Thomas Pasatieri
inspired by “A Flea in her Ear” by Georges Feydeau |
| the opera: Pasatieri’s original libretto moves Feydeau’s comedy to a Texas ranch in 1948, and tells the story of a wealthy Texas couple who want to toughen up their 25-year-old nephew from New York. The action takes place at the Double-T Ranch and a seedy hotel, where a careless exploit by the nephew leads to a series of misunderstandings and resulting comic mayhem. |
[show arias]
| How can this be true? (Act I) |
character: Tallulah
voice: soprano
dur: 3¼’
the aria: Tallulah thought she had a perfectly happy marriage with Tom, but has just found what she believes to be evidence that her husband is cheating on her. |
| This picture in my mind (Act II) |
character: Tallulah
voice: soprano
dur: 3½'
the aria: Tallulah, thinking that her husband is unfaithful, despairingly blames herself. |
| Well, here I am (Act II) |
character: Veronique
voice: soprano
dur: 4'
the aria: Daisy has dreams of being a movie star, and has reinvented herself as "Veronique." Starry-eyed, she indulges in a daydream, rising above her station as receptionist at the seedy Hotel Casablanca. |
published by Theodore Presser
orchestral parts on rental
sale: piano/vocal score 411-41114 |
[close arias] |
|
| 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]
| One Star (Act I, No. 11) |
character: Rosasharn
voice: soprano
dur: 5’
the aria: [adapted for solo aria] Rosasharn tells Connie that out of all the stars in the sky, she only needs one to wish on to make her dreams come true. |
published by Carl Fischer
orchestral parts on rental
sale: piano/vocal score VF19 (The Grapes of Wrath: Solo Aria Collection) |
[close arias] |
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| Lady Macbeth |
music by Thomas Pasatieri
libretto by Thomas Pasatieri, from Shakespeare |
| the opera: Lady Macbeth’s key speeches from Shakespeare’s play, woven into a dramatic monologue which plots her psychological downfall. |
[show arias]
| monodrama (complete) |
character: Lady Macbeth
voice: soprano
dur: 18’
 |
| That which hath made them drunk / These deeds must not be thought (excerpt) |
character: Lady Macbeth
voice: soprano
dur: 4'
the aria: Following the murder of King Duncan, Lady Macbeth vacillates between exultation and fear as she wavers on the brink of madness. |
published by Theodore Presser
sale: piano/vocal score 411-41118 |
[close arias] |
|
| Martin Avdéich: A Christmas Tale |
music by Robert Downard
libretto by Robert Downard
after a story by Leo Tolstoy |
| the opera: Based on a story by Tolstoy, this opera chronicles a special Christmas in the life of an embittered shoemaker who, through a series of seemingly ordinary visitations, learns the true meaning of the holiday and rediscovers his own sense of compassion. |
[show arias]
| Waltz of Olga Alexandrovna (Sc. i) |
character: Olga Alexandrovna
voice: soprano coloratura
dur: 3¾’
the aria: Olga, the young daughter of a wealthy merchant, is excited about a ball at the Winter Palace; she visits Martin, the shoemaker, and tries to cajole him into making her dancing shoes his top priority. |
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] |
|
| Medusa |
music by William Bolcom
libretto by Arnold Weinstein |
| the opera: Now an ugly hag on a lonely crag, Medusa remembers the beautiful maiden she once was before her rape by Neptune. A jealous Athena had punished Medusa for being so beautiful by turning her into an ugly monster, with a gaze that would turn men to stone. Her destiny turns Medusa vengeful and, using her foul powers, she lures men to their doom, before Perseus finally conquers her. |
[show arias]
| monodrama (complete) |
character: Medusa
voice: soprano dramatic
dur: 42˝’
 |
| When the fires on the distant shore die down (after the Petrification: Aria) (excerpt) |
character: Medusa
voice: soprano
dur: 3½'
the aria: Medusa has exiled herself to a lonely crag for fear of turning her family to stone. Lonely and angered by her fate, she now decides on a course of revenge, and prepares to use her petrifying powers. |
published by E. B. Marks
orchestral parts on rental from Theodore Presser
piano/vocal score for rehearsal only from Theodore Presser |
[close arias] |
|
| 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] |
|
| The Picture of Dorian Gray |
music by Lowell Liebermann
libretto by Lowell Liebermann
after the novel by Oscar Wilde |
| the opera: Oscar Wilde’s well-known story examines the quest for eternal youth, and the perils of an obsession with external beauty which disguises ugliness in the soul. |
[show arias]
| Dorian, don’t leave me (Act I, Sc. iv) |
character: Sibyl
voice: soprano
dur: 5˝’
the aria: Following a disastrous performance and Dorian’s rejection of her, Sibyl is alone in her dressing room. She likens her grief and despair to that of Juliet, and contemplates the significance of a poison bottle prop. |
published by Theodore Presser
sale: piano/vocal score 411-41101 |
[close arias] |
|
| 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] |
|
| The Stronger |
music by Hugo Weisgall
libretto by Richard Hart
after the play by August Strindberg |
| the opera: Christmas Eve: uninvited, Estelle joins Lisa, a former friend, in a quiet bar. Estelle bombards Lisa with patronizing gossip about her marital happiness with Harold. As Estelle tosses off one cocktail after another, Lisa's silence goads her into open hostility and insinuations about Lisa's former relationship with Harold. Suddenly, Estelle's mercurial nature asserts itself, and having now unburdened herself of her suspicions, she leaves with a patronizing "Merry Christmas" to Lisa. The silent Lisa turns to the audience with an enigmatic smile. |
[show arias]
| monodrama (complete) |
character: Estelle
voice: soprano
dur: 24˝’
 |
| Why must all his things be this horrid color? (excerpt) |
character: Estelle
voice: soprano
dur: 24˝'
the aria: Estelle reaches the height of her tirade against Lisa and her drunken obsession with the idea that Lisa is still coming between her and her husband. |
published by Theodore Presser
orchestral parts on rental
sale: piano/vocal score 411-41090 |
[close arias] |
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