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Perfect Soprano Recital Selections

August 20, 2018 By Nora Miller Rubinoff Leave a Comment

Are you preparing for a Junior Recital, Senior Recital, or Graduate Recital? Deciding upon the perfect program of music for your performance is one of the most important decisions you’ll make. A vocalist must carefully select the right balance of music to appropriately highlight vocal skills. Curated from our database, here are 24 selections perfect to consider for inclusion in a Soprano recital.

Neue Liebe
Text by Heinrich Heine (1797-1856)
Set by Felix Mendelssohn-Bartholdy (1809-1847), op. 19, #4
https://www.ipasource.com/neue-liebe-8243.html

Ach, um deine feuchten Schwingen
Text by Marianne von Willemer (1784-1860), attributed to Goethe
Set by Fanny Mendelssohn-Hensel (1805-1847); Felix Mendelssohn-Bartholdy (1809-1847), op. 4, #4;
Franz Peter Schubert (1797-1828), Suleika II, (D. 717)
https://www.ipasource.com/suleika.html

Die Schwalbe fliegt (Hexenlied)
Text by Ludwig Heinrich Christoph Hölty (1748-1776)
Set by Felix Mendelssohn-Bartholdy (1809-1847), And’res Maienlied: Hexenlied, op. 8, #8
https://www.ipasource.com/catalog/product/view/id/6898/category/831/

À une fontaine (To a fountain)
Text by Pierre de Ronsard (1524-1585)
Set by Darius Milhaud (1892-1974), from Quatre Chansons de Ronsard, #1
https://www.ipasource.com/catalog/product/view/id/8853/category/1774/

À Cupidon (To Cupid)
Text Pierre de Ronsard (1524-1585)
Set Jacques Leguerney (1906-1997), Darius Milhaud (1892-1974), from Quatre Chansons de Ronsard,
#2
https://www.ipasource.com/catalog/product/view/id/8854/category/1774/

Dieu vous gard’
Text by Pierre de Ronsard (1524-1585)
Set by Sas Bunge, from Deux poèmes, #1; Darius Milhaud (1892-1974), from Quatre Chansons de
Ronsard, #4
https://www.ipasource.com/catalog/product/view/id/8856/category/1774/

Quel guardo, il cavaliere… So anch’io la virtù magica
Norina’s aria from the opera Don Pasquale (soprano)
Text by Gaetano Donizetti and Giacomo Ruffini
Set by Gaetano Donizetti (1797-1848)
https://www.ipasource.com/catalog/product/view/id/190/category/424/

Ich folge dir gleichfalls
#9, aria for soprano from the Johannespassion (St. John Passion), BWV 245
Text from the Martin Luther translation of The Gospel According to St. John, chapters 18-19
Set by Johann Sebastian Bach (1685-1750)
https://www.ipasource.com/ich-folge-dir-gleichfalls.html

Liebster Jesu, mein Verlangen (Complete)
Cantata BWV 32 for soprano and bass for the 1st Sunday after Epiphany
Text by Georg Christian Lehms (1684-1717); Luke 2: 49; Paul Gerhardt (1607-1676)
Set by Johann Sebastian Bach (1685-1750)
https://www.ipasource.com/bwv-032-liebster-jesu-mein-verlangen-complete.html

L’idéal (The Ideal)
Text by René-François Sully-Prudhomme (1839-1907)
Set by Cécile Chaminade (1857-1944)
https://www.ipasource.com/catalog/product/view/id/5869/category/321/

Trahison (Betrayal)
Text by Edouard Guinand (1838-?)
Set by Cécile Chaminade (1857-1944)
https://www.ipasource.com/catalog/product/view/id/5875/category/321/

Rosamonde
Text by Marc Constantin (1810-1888)
Set by Cécile Chaminade (1857-1944)
https://www.ipasource.com/catalog/product/view/id/5874/category/321/

Hark! The Echoing Air
Air of the Second Woman from The Fairy Queen (soprano)
Text by Elkanah Settle (1648-1724) [Br] adapted from A Midsummer Night’s Dream by William
Shakespeare (1554-1616) [Br]
Set by Henry Purcell (1658/9-1695) [Br], Z. 629 no. 48 (1692)
https://www.ipasource.com/catalog/product/view/id/1456/category/3442/

Der Hirt auf dem Felsen (The shepherd on the rock)
Text by Willhelm Müller (1794-1824) and Wilhelmina von Chézy (1783-1856)
Set by Franz Peter Schubert (1797-1828), D. 965
https://www.ipasource.com/der-hirt-auf-dem-felsen-7493.html

Una voce poco fa
Rosina’s aria from the opera Il barbiere di Siviglia
Text by Cesare Sterbini (1784-1831)
Set by Gioacchino Rossini (1792-1868)
https://www.ipasource.com/una-voce-poco-fa.html

Quatre chansons de jeunesse

Apparition (Apparition)
Text by Stéphane Mallarmé (1842-1898)
Set by Claude Debussy (1862-1918); Kaikhosru (Leon Dudley) Sorabji (1892-1988)
https://www.ipasource.com/catalog/product/view/id/5968/category/364/

Clair de lune (Moonlight)
Text by Paul Verlaine (1844-1896)
Set by Gustave Charpentier (1860-1956); Claude Debussy (1862-1918), from Fêtes Galantes I, #2;
Alphons Diepenbrock (1862-1921); Gabriel Fauré (1845-1924), op. 46, # 2; Jósef Szulc (1875-1956),
from Dix mélodies sur des poésies de Verlaine, op. 83
https://www.ipasource.com/catalog/product/view/id/5992/category/364/

Pantomime
Text by Paul Verlaine (1844-1896)
Set by Claude Debussy (1862-1918); Willem Pijper (1894-1947), from Fêtes galantes, #1; Kaikhosru
Sorabji (Leon Dudley) (1892-1988)
https://www.ipasource.com/catalog/product/view/id/5966/category/364/

Pierrot
Text by Théodore Faullin de Banville (1823-1891)
Set by Claude Debussy (1862-1918); Francis Poulenc (1899-1963), FP. 66
https://www.ipasource.com/catalog/product/view/id/5967/category/364/

Vado, ma dove?
Text by Lorenzo da Ponte (1749-1838)
Set by Wolfgang Amadeus Mozart (1756-1791), concert aria for soprano, K. 583
https://www.ipasource.com/vado-ma-dove.html

Auf dem Strom (On the River/In the Current)
Text by Ludwig Rellstab (1799-1860)
Set by Franz Peter Schubert (1797-1828)
https://www.ipasource.com/auf-dem-strom-7557.html

Del cabello más sutil (Dos cantares populares)
Text by Anonymous
Set by Fernando J. Obradors (1897-1945), from Canciones clásicas españolas, vol. 1, #6
https://www.ipasource.com/catalog/product/view/id/10257/category/3366/

La mi sola, Laureola
Text by Juan Ponce (1480?)
Set by Fernando J. Obradors (1897-1945), from Canciones clásicas españolas, vol. 1, #1
https://www.ipasource.com/catalog/product/view/id/10252/category/3366/

Al amor
Text by Cristóbal de Castillejo (1491?-1556)
Set by Fernando J. Obradors (1897-1945), from Canciones clásicas españolas, vol. 1, #2
https://www.ipasource.com/catalog/product/view/id/10253/category/3366/

More on recital prep:

  • “Choosing your singing repertoire“
  • “Take me to your Lieder: the delicate art of the song recital“
  • “The Vanishing Vocal Recital (and Where to Find Some)“
  • “Dos And Don’ts When Preparing For A Voice Recital“
  • “How to Plan a Successful Vocal Recital“

Filed Under: Composers, Featured, Voice Classification Tagged With: Cecile Chaminade, Claude Debussy, Darius Milhaud, Fanny Mendelssohn Hensel, Felix Mendelssohn Bartholdy, Fernando J. Obradors, Franz Peter Schubert, Gaetano Donizetti, Gioacchino Rossini, Henry Purcell, Johann Sebastian Bach, recital, soprano, Wolfgang Amadeus Mozart

Featured composer: Amy Beach

July 1, 2018 By Nora Miller Rubinoff Leave a Comment

Amy Beach 01Amy Marcy Cheney Beach (September 5, 1867 – December 27, 1944) was an American composer and pianist. She was the first successful American female composer, and is also known as the first female composer to have her symphony performed by a major orchestra. Additionally, Amy Beach was the first classical U.S. composer to achieve success without the aid of European study.

Amy lived in a time where women musicians fell into one of two categories: amateur (playing within the home only) and professional (performing in public and paid to do so). Professional women musicians typically had parents who were musicians and performers. Respectable upper-class and middle-class women musicians didn’t perform in public because of the American doctrine of domestic feminism. Women were taught that marriage, home and family were their only domains.

Amy’s mother Clara was a singer and pianist, and had a sister, Emma, that displayed similar talents. Musical skill was clearly present in Amy’s family. At age one, young Amy could already sing 40 songs. She further exhibited her prodigious skills by teaching herself to read at age 3, and writing three waltzes for piano by the age of 4. At the time, highly talented musical students were often sent to Europe for further musical training to pursue a career in music. Amy’s parents did not support the pursuit of European study and for quite some time, Amy was instructed solely by her mother.

At age 9, Amy began studying piano with German-trained Ernst Perabo, who was regarded as one of Boston’s finest pianists and instructors. Perabo taught both privately and at the New England Conservatory. Perabo believed that “the development of the mind requires slow growth, assisted by the warm sun of affection, and guided by conservative teachers with honest and ideal conceptions who understand how to so load its precious cargo, that it may not shift during life’s tempestuous vicissitudes.”

– “Amy Beach, Passionate Victorian: the Life and Work of an American Composer, 1867-1944.” Amy Beach, Passionate Victorian: the Life and Work of an American Composer, 1867-1944, by Adrienne Fried. Block, Oxford University Press, 2000, pp. 23–23.

At age 16 (in 1883), Amy debuted at a “Promenade Concert” in Boston’s Music Hall, playing Chopin’s Rondo in E-flat and was piano soloist in Moscheles’s Piano concerto No. 3 in G minor. She was enthusiastically received.

Amy was married in 1885 at the young age of 18 to Boston surgeon Dr. Henry Harris Aubrey Beach. Henry was 24 years older than Amy. Dr. Beach required his wife stop her public performance. In conformity with his wishes, she stopped performing except for one performance yearly whose proceeds were donated to charity and focused only on composition. Amy Cheney Beach agreed “to live according to his status, that is, function as a society matron and patron of the arts,” and to never teach piano.

Early Amy Beach songs

  • The Blackbird, as set by Amy Beach (1889)
  • Dark is the night, as set by Amy Beach (1890)

…

op. 1. Four Songs (1887)

  • Die vier Brüder (poem by F. von Schiller)
  • Jeune fille et jeune fleur (poem by F.R. Chateaubriand)

Self study in composition

As mentioned previously, Amy’s husband, Dr. Henry Beach, forbade her to perform. While she focused on composition, he did not want her taking formal instruction. From wikipedia.org:

Her self-guided education in composition was also necessitated by Dr. Beach, who disapproved of his wife studying with a tutor. Restrictions like these were typical for middle- and upper-class women of the time: as it was explained to a European counterpart, Fanny Mendelssohn, “Music will perhaps become his [Fanny’s brother Felix Mendelssohn‘s] profession, while for you it can and must be only an ornament.”

Amy Cheney Beach’s compositions blazed new territory for women in the Victorian Era. The Mass in E♭, Op. 5, was her first acclaimed success. A 75-minute work for chorus, quartet, organ, and orchestra, it was performed in 1892 by the Handel and Haydn Society orchestra. The orchestra had never, since its inception, performed a work by a woman. In 1896, her Gaelic Symphony was performed by the Boston Symphony Orchestra. The Gaelic Symphony was the first symphony composed and published by an American woman.

Antonin Dvorak, in 1892, remarked that women in music did not have creative power. From the New York Times:

Here all the ladies play,” Dvorak said. “It is well; it is nice. But I am afraid the ladies cannot help us much. They have not the creative power.”

From our collection, op. 51. Four Songs (1903), as set by Amy Cheney Beach:

  • Ich sagte nicht
  • Je demande à l’oiseau
  • Juni
  • Wir drei

Amy Cheney Beach was most well-known for her songs. She wrote about 150 songs over the course of her life and career. Mostly, the words for her songs came from other poets, although she and her husband, H. H. A. Beach, wrote the text for about 5 of her songs. “The Year’s At the Spring” from Three Browning Songs, Op. 44 is perhaps Beach’s best-known work.

From our collection, two texts from op. 44, Three Browning Songs (1900), as set by Amy Cheney Beach:

  • Ah, Love, But a Day
  • The Year’s at the Spring

Widowhood, Europe and a return to performance

Amy’s husband died in 1910. Amy felt unable to work, and decided to travel to Europe. It was at this time that she changed her name to Amy Beach. In late 1912, she resumed performing. In late 1913, Amy Beach’s Gaelic Symphony was also performed in Hamburg and Leipzig. From wikipedia.org:

She was greeted as the first American woman “able to compose music of a European quality of excellence.”

op. 73. Two Songs (1914), as set by Amy Beach

  • Der Totenkranz
  • Großmütterchen

When Amy Cheney Beach died, she left more than 300 published works. More of her music has been published in recent decades. After her death in 1944, her music was largely forgotten, but has begun to show a resurgence as of the late 20th century.

View our complete collection of Amy Cheney Beach songs at https://www.ipasource.com/composer/b/beach-amy-marcy-1867-1944.html.

 

Filed Under: Composers Tagged With: Amy Beach, composer, composers, female composers, women composers

July Composer Birthdays

July 1, 2018 By Nora Miller Rubinoff Leave a Comment

We’re celebrating 9 composer birthdays during the month of July. Each composer has a link to our collection of texts for that individual.

Gustav Mahler, born 7/7/1860
Texts from our collection:  https://www.ipasource.com/composer/m/mahler-gustav-1860-1911.html

Ottorino Respighi, born 7/9/1879
Texts from our collection:  https://www.ipasource.com/composer/r/respighi-ottorino-1879-1936.html

George Sainton Kaye Butterworth, born 7/12/1885
Texts from our collection:  https://www.ipasource.com/composer/b/butterworth-george-sainton-kaye-1885-1916.html

Gerald Finzi, born 7/14/1901
Texts from our collection:  https://www.ipasource.com/composer/f/finzi-gerald-1901-1956.html

Giovanni Bononcini, born 7/18/1670
Texts from our collection:  https://www.ipasource.com/composer/b/bononcini-giovanni-battista-1670-1747.html

Vincenz Lachner, born 7/19/1811
Texts from our collection:  https://www.ipasource.com/composer/l/lachner-franz-paul-1803-1890.html

Deodat de Severac, born 7/20/1872
Texts from our collection:  https://www.ipasource.com/composer/s/severac-deodat-de-1872-1921.html

Francesco Cilea, born 7/23/1866
Texts from our collection:  https://www.ipasource.com/composer/c/cilea-francesco-1866-1950.html

Enrique Granados, born 7/27/1867
Texts from our collection:  https://www.ipasource.com/composer/g/granados-y-campi-a-enrique-1867-1916.html

Filed Under: Composers Tagged With: birthdays, composers

June Composer Birthdays

June 1, 2018 By Nora Miller Rubinoff Leave a Comment

We’re celebrating 13 composer birthdays during the month of June. Each composer has a link to our collection of texts for that individual.

Sir Edward William Elgar, born 6/2/1857.
Texts from our collection: https://www.ipasource.com/composer/e/elgar-sir-edward-1857-1934.html

Charles Lecocq, born 6/3/1832.
Texts from our collection: https://www.ipasource.com/composer/l/lecocq-charles-1832-1918.html

Tomaso Giovanni Albinoni, born 6/8/1671.
Texts from our collection: https://www.ipasource.com/composer/a/albinoni-tomaso-giovanni-1671-1751.html

Robert Alexander Schumann, born 6/8/1810.
Texts from our collection: https://www.ipasource.com/composer/s/schumann-robert-alexander-1810-1856.html

Carl Otto Ehrenfried Nicolai, born 6/9/1810.
Texts from our collection: https://www.ipasource.com/composer/n/nicolai-otto-1810-1849.html

Heinrich von Herzogenberg, born 6/10/1843.
Texts from our collection: https://www.ipasource.com/composer/h/herzogenberg-heinrich-von-1843-1900.html

Richard Strauss, born 6/11/1864.
Texts from our collection: https://www.ipasource.com/composer/s/strauss-richard-1864-1949.html

Edvard Hagerup Grieg, born 6/15/1843.
Texts from our collection: https://www.ipasource.com/composer/g/grieg-edvard-1843-1907.html

Charles François Gounod, born 6/17/1818.
Texts from our collection: https://www.ipasource.com/composer/g/gounod-charles-1818-1893.html

Igor Stravinsky, born 6/17/1882.
Texts from our collection: https://www.ipasource.com/composer/s/stravinsky-igor-1882-1971.html

Jacques Offenbach, born 6/20/1819.
Texts from our collection: https://www.ipasource.com/composer/o/offenbach-jacques-1819-1880.html

Carl Heinrich Carsten Reinecke, born 6/23/1824.
Texts from our collection: https://www.ipasource.com/composer/r/reinecke-karl-heinrich-carsten-1824-1910.html

Philipp Friedrich Silcher, born 6/27/1789.
Texts from our collection: https://www.ipasource.com/composer/s/silcher-philipp-friedrich-1789-1860.html

Filed Under: Composers Tagged With: birthdays, composers

Featured composer: Fanny Mendelssohn Hensel

June 1, 2018 By Nora Miller Rubinoff 1 Comment

(1847) Hensel, Fanny Mendelssohn. Germany, 1847. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2009537803/.
Fanny Hensel, née Fanny [Cäcilie] Mendelssohn Bartholdy (November 14, 1805 – May 14, 1847) had a lifelong dream of being considered a serious composer. It is said that her talent was equal to and perhaps surpassed that of her famous brother, Felix Mendelssohn Bartholdy.

Fanny and Felix were children of Abraham and Lea Mendelssohn. When Napoleon’s troops occupied Hamburg in 1811, the Jewish family relocated to Berlin. In 1816, Fanny and Felix were baptized in Berlin as Lutherans, and the family took the surname of Bartholdy.

Abraham and Lea Mendelssohn valued education a great deal. They invested heavily in first self teaching their children, later arranging for tutors and other academic opportunities. Young Fanny’s mother Lea was her first piano teacher. (Lea Mendelssohn Bartholdy’s piano teacher was a student of Johann Sebastian Bach!) At age 13, Fanny could play all 24 Preludes from Bach’s The Well-Tempered Clavier from memory.

Societal customs of her time restricted women from pursuing musical careers. Women were expected to serve as wives and mothers rather than having occupation outside the home. While her brother Felix traveled and expanded his musical horizons, Fanny stayed in Berlin, continuing her pursuit of music within the confines of home. Her brother admired her work, but took the traditional stance of that time period that women not pursue careers other than being wives and mothers. She did convince Felix to publish six of her songs under his name, in his two sets of Twelve Songs (Opuses 8 and 9).

op. 008., as set by Felix Mendelssohn Bartholdy

  • And’res Maienlied: Hexenlied
  • Erntelied
  • Frühlingslied – Jetzt kommt der Frühling
  • Minnelied im Mai
  • Pilgerspruch
  • Romanze – Einmal aus seinen Blicken

op. 009., as set by Felix Mendelssohn Bartholdy

  • Ferne
  • Frage
  • Frühlingsglaube
  • Sehnsucht
  • Verlust

In exchange, Fanny served as an ongoing sounding board and critic of her brother’s work. Felix referred to her as “Minerva,” after the Roman Goddess of Wisdom, because he deeply valued her insight and musical knowledge.

Fanny married Wilhelm Hensel in 1829. The following year, their only child, Sebastian Ludwig Felix Hensel, was born. An interesting fact regarding the naming of Fanny and Wilhelm’s son: he was named after Fanny’s three favorite composers, in chronological order. Wilhelm was supportive of Fanny’s compositional efforts. Her work was performed alongside that of her brother Felix’s work at private, invitation-only salons held in the Mendelssohn household.

Fanny wrote more than 450 compositions, including chamber music, piano pieces, cantatas, oratorios, and lieder (art songs).

The handiwork of a number of poets were set by Fanny Hensel, including Heinrich Heine, Josef Karl Benedikt von Eichendorff, Johann Wolfgang von Goethe, Emanuel von Geibel, and Nikolaus Lenau. From the IPA Source database, here are a few selections as set by Fanny Mendelssohn Hensel:

Poet Heinrich Heine (1797-1856)

  • Warum sind denn die Rosen so blaß 
  • Schwanenlied
  • Ach, die Augen sind es wieder
  • Allnächtlich im Traume seh’ ich dich
  • Am leuchtenden Sommermorgen
  • Das Meer erglänzte

Poet Josef Karl Benedikt von Eichendorff (1788-1857)

  • Abendlich schon rauscht der Wald
  • Schöne Fremde
  • Morgenständchen
  • Frühling
  • Nachtwanderer
  • Anklänge I
  • Anklänge II and Anklänge III
  • Bergeslust
  • Nach Süden

Poet Emanuel von Geibel (1815-1884)

  • Im Wald
  • Gondellied
  • Im Herbste

Poet Nikolaus Lenau (1802-1850)

  • Bitte
  • Abendbild
  • Vorwurf

Carl Friedrich Zelter, leader of the Sing-Akademie zu Berlin (of which Fanny and Felix were a part of), wrote a letter of introduction to the poet Johann Wolfgang von Goethe in 1816, introducing their father, Abraham Mendelssohn Bartholdy:

 

 

In a later letter to Goethe, Zelter described Fanny’s playing skills by saying “She plays like a man,” which was considered a high compliment at that time.

Poet Johann Wolfgang von Goethe (1749-1832)

  • Wanderlied
  • Erwin
  • Auf dem See
  • Dämmrung senkte sich von oben
  • Der du vom Himmel bist

 

Very few of Fanny Hensel’s compositions were published. Most are only in manuscript form. There are IPA translations of 66 art songs (lieder) as set by Fanny Mendelssohn Hensel in the IPA Source database. View our complete collection here: https://www.ipasource.com/composer/h/hensel-fanny-mendelssohn-1805-1847.html

Read more about the life of Fanny Hensel in our blog post of November, 2017.

Filed Under: Composers, Librettists and Poets Tagged With: Fanny Hensel, Fanny Mendelssohn Hensel, Felix Mendelssohn, Felix Mendelssohn Bartholdy

La clemenza di Tito as set by Wolfgang Amadeus Mozart

May 18, 2018 By Nora Miller Rubinoff Leave a Comment

Metastasio by Batoni
Pietro Metastasio
La clemenza di Tito is an opera in two acts that premiered at the Estates Theatre in Prague on September 6, 1791, just a few hours following the coronation of Leopold II, Roman Emperor, as King of Bohemia.

In 1791, impresario Domenico Guardasoni commissioned Wolfgang Amadeus Mozart to compose an opera seria in honor of the coronation of Leopold II,  Roman Emperor, as King of Bohemia. At the time, Mozart was already engaged in writing Die Zauberflöte. Guardasoni had been approached about the opera in June, and its opening was slated for early September.

From wikipedia:

In a contract dated 8 July, Guardasoni promised that he would engage a castrato “of leading quality” (this seems to have mattered more than who wrote the opera); that he would “have the libretto caused to be written…and to be set to music by a distinguished maestro”. The time was tight and Guardasoni had a get-out clause: if he failed to secure a new text, he would resort to La clemenza di Tito, a libretto written more than half a century earlier by Pietro Metastasio (1698–1782).

Mozart had previously displayed his ability to work on a tight timeline, and Guardasoni knew he was up to the task. Ultimately it was decided that the text La clemenza di Tito, libretto by Pietro Metastasio, would be used. The text was revised by court poet Caterino Mazzolà, who among other edits, merged the three-act opera into two. Clearly some of the intent behind using La clemenza di Tito had to do with its theme: it is based upon the life of Roman Emperor Titus. It is also worth noting that Metastasio’s libretto had already been set by almost 40 other composers!

La clemenza di Tito was composed in the last year of Mozart’s life, and some say he struggled with the composition. His wife Constanze had recently given birth to their sixth son, Franz Xaver Wolfgang. Under tremendous time pressure, he composed nearly around the clock. Mozart did not care whether the opera succeeded, simply taking the musician’s fee (twice the fee he had collected on a recent similarly-sized opera) so that he could return home and resume work on The Magic Flute and The Requiem Mass.

La clemenza di Tito was Mozart’s first opera to reach London.  The opera remained quite popular for a number of years following Mozart’s death.

From the IPA Source database, La clemenza di Tito:

  • Ah, se fosse intorno al trono
  • Deh per questo istante solo
  • Deh se piacer mi vuoi
  • Del più sublime soglio
  • Ma che giorno e mai questo
  • Non piu di fiori
  • Parto, ma tu, ben mio
  • S’altro che lacrime
  • Se all’impero, amici Dei
  • Tardi s’avvede d’un tradimento
  • Torna di Tito a lato
  • Tu fosti tradito

 

Listen to the entire opera:

Filed Under: Composers, Librettists and Poets Tagged With: Caterino Mazzolà, Pietro Metastasio, Wolfgang Amadeus Mozart

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