Arias for Tenor

Carefully chosen arias to anticipate the needs of singers, teachers and coaches for years to come. Includes historical notes, plot synopses and translations for study. Edited by Robert Larsen.

"It has been a pleasure to refleet on the enormous repertory that the world of opera affords, and to choose from it a group of important and representative arias for soprano, mezzo-soprano, tenor, baritone, and bass to be included in these anthologies of opera arias.

In making these selections, I confess that I have not applied a constant criterion or standard, but rather have chosen to alter my perspective with each volume. All of these collections are intended to be of particular use to students and teachers of voice. Thus the soprano volume, for example, concentrates on lyric arias, rather than venturing very far into die rich material for coloratura, spinto, or dramatic voices.

The other volumes include the lyric arias most often sung by student voices, but also inelude other signifleant arias for a voice-type. For instance, I can't imagine a young baritone who would not be inspired by looking through die wonder of the Prologue from I Pagliacci within the confines of his practice room, or a tenor who doesn't anticipate with excitement the day when "Che gelida manina" may fit his voice like a glove.

On the other hand, I have omitted some important repertory, such as many of the great Verdi baritone arias, because diey are widely available, and are certainly die province of only the most experienced performer. Instead, I have chosen pieces of value not previously found in such collections, including arias in English for each voice-type.

Each aria has been painstakingly researched in preparing these new editions, creating what I believe will be an eminently credible and useful source for this music. There are countless incidents where notes or words have been corrected to create a more substantiated presentation dian in previous editions.

Throughout the collections, one will find many spots where traditional cadenzas are recommended. Appropriate appoggiaturas, as defined by conservative application of tradition, are indicated as well. There are instances where an entirely revised piano reduction, more representative of the full score, has been created.

These anthologies are for all of us who must remain students of our art throughout our lifetimes. I'm a vocal coach and opera conductor who believes firmly in exposing die gifted performer to the firmament, being sure diat he or she understands that each star must be attained at its own special time, to be plucked and polished again and again throughout a musical career. Among these arias may be the first one ever studied, but if it' s by someone destined to be a real singer, it will remain in mind and heart forever." - Robert L. Larsen