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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 tenor voice |
| Between Two Worlds (The Dybbuk) |
music by Shulamit Ran
libretto by Charles Kondek
after the play by S. Ansky |
| the opera: From an Eastern European Jewish folk tale. Leya is about to enter an arranged marriage, but is in love with Khonnon. After he dies, she 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]
| The ark, nine holy scrolls (Act I) |
character: Khonnon
voice: tenor
dur: 5½’
the aria: Khonnon is immersed in the mysticism and ecstasy of the Kabalah; his fascination with it is the key to understanding the seizure which will cause his death. He opens the opera with a statement about the mysteries of numerology and his love of Leya. |
| Oh Leya, how all beautiful you are (Act I) |
character: Khonnon
voice: tenor
dur: 3½’
the aria: Khonnon sings of his love for Leya, with metaphors from the Song of Songs. |
published by Theodore Presser
orchestral parts on rental |
[close arias] |
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| Frau Margot |
music by Thomas Pasatieri
libretto by Frank Corsaro |
| the opera: The great composer Erich Künstler leaves an unfinished opera behind at his death. The world is eager to see the score, but his widow, Frau Margot, guards the manuscript jealously. A young American composer goes to Amsterdam to get permission from Frau Margot to complete the unfinished opera, but while in Amsterdam, he falls in love with the widow's companion, who was the composer's mistress. Frau Margot knows more than she has previously revealed: her pent-up feelings lead her to try and control everything around her, with devastating results. |
[show arias]
| I first saw Margot (Act III) |
character: Walter Engelmann
voice: tenor
dur: 2’
the aria: Walter is waiting at the police station for his friend, Frau Margot, to arrive for questioning regarding the death of Kara. Walter has been in love with her since he first met her, but she married his friend, the composer Erich Kunstler. |
published by Theodore Presser
orchestral parts on rental
sale: piano/vocal score 411-41117 |
[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]
| So long, Savior / A naked tree (Act I, Sc. ii) |
character: Casy
voice: tenor
dur: 2¼’
the aria: Casy, a lapsed Preacher, strums on a ukelele and makes light of his fall from grace, and accepts how unfit he is now to be a spiritual leader. |
published by Carl Fischer
orchestral parts on rental from Theodore Presser
sale: piano/vocal score VF19 (The Grapes of Wrath: Solo Aria Collection); also includes:
A Word for This Old Man (Jim Casy, tenor)
Hooverville (Al Joad, tenor)
Things Turn Around (Jim Casy, tenor) |
[close arias] |
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| Holy Night |
music by Dan Welcher
libretto by Paul Woodruff |
| the opera: New York, 2005: a young couple living in a Manhattan apartment prepare for a ceremony of commitment; but misunderstanding and prejudice, along with family pressures during the Christmas season, throw obstacles in their way. These universal issues go beyond the discrimination they already face as a gay couple. |
[show arias]
| I was in Central Park, not far from the zoo (Sc. i) |
character: Joshua
voice: tenor
dur: 3’
the aria: On the phone with his partner, Dennis, Joshua describes a scene he has just witnessed which seems to him symbolic of the commitment they have to each other. |
published by Elkan-Vogel
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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| 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]
| Dewdrop (Act I, Sc. ii) |
character: Henry
voice: tenor spinto
dur: 4’
the aria: Henry Ward Beecher is at his best, a powerful preacher and committed abolitionist. He preaches that a human life can be as beautiful and fragile as a dewdrop. [A prelude to revealing to his congregation a young mulatto girl whom he has brought to be auctioned. Moved to action by his words, the congregation then buy the girl and set her free]. |
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 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's final scene (Act II, Sc. vii) |
character: Dorian Gray
voice: tenor
dur: 4¼’
the aria: Dorian is alone with his portrait, and muses about the corruption of his life. Realizing that there is no going back, he decides to destroy the picture, the one bit of evidence against him. He picks up a knife and stabs the painting… |
published by Theodore Presser
orchestral parts on rental
sale: piano/vocal score 411-41101 |
[close arias] |
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| Signor Deluso |
music by Thomas Pasatieri
libretto by Thomas Pasatieri |
| the opera: Célie is in love with Léon but her father wants her to marry Valère. She faints and is being held by Deluso when his wife Clara sees them through the window. Layer upon layer of misunderstanding ensue: Clara thinks Deluso is in love with Célie; Deluso thinks Clara is in love with Léon; Léon and Célie are in love, but Léon suspects Deluso is a rival; Célie doesn’t know what to think. The situation gets more confused until the maid enters in the nick of time, and after a dazzling ensemble, clears up the whole mess. |
[show arias]
| There is her house (Opera in 1 Act) |
character: Léon
voice: tenor
dur: 3’
the aria: Léon has returned home because he has heard that his love, Célie, is about to be married to someone else. |
published by Theodore Presser
orchestral parts on rental
sale: piano/vocal score 411-41092 |
[close arias] |
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| A View From the Bridge |
music by William Bolcom
libretto by Arthur Miller & Arnold Weinstein, after the play by Arthur Miller |
| the opera: Longshoreman Eddie takes two illegal immigrants into his home, but when one of them announces that he intends to marry Eddie’s pretty teenaged niece, it leads to a clash of characters as jealousies explode into betrayal and violence. |
[show arias]
| The New York Lights (Act I, Sc. vi, No. 13) |
character: Rodolpho
voice: tenor
dur: 4’
the aria: Rodolpho, an illegal immigrant from Italy, has just returned from an evening walk in Brooklyn, and is inspired by the view of Manhattan at night. |
published by E. B. Marks
orchestral parts on rental from Theodore Presser (n.b. Presser represents only the rental element)
published piano/vocal score and extracted aria (vx/pno) available for sale from Hal Leonard |
[close arias] |
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