Concert aria
Today, Concert aria is a topic that has captured the attention of people of all ages and walks of life. From its impact on popular culture to its influence on politics and society, Concert aria has proven to be a recurring and relevant topic of discussion today. With technological advances constantly changing the way we interact with Concert aria, and with a constant flow of news and information continuing to impact our perception of this topic, it is important to take a closer look at how Concert aria has become so crucial in our daily lives. In this article, we will explore the various facets of Concert aria and examine its impact on our lives and the world around us.
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A concert aria is normally an aria or operatic scene (scena) composed for singer and orchestra, written specifically for performance in concert rather than as part of an opera. Concert arias have often been composed for particular singers, the composer always bearing that singer's voice and skill in mind when composing the work.
The term also refers to insertion arias for operas, that is those that were written as additions to the score after its initial completion or as possible substitutions for other arias. These are sometimes performed in concerts because they are no longer required for their original purpose, though they were not, strictly speaking, composed for performance in concert.
The concert arias of Wolfgang Amadeus Mozart most frequently performed today, but there are many examples by other composers, such as:
- "Son qual nave ch'agitata" by Riccardo Broschi (written for the famous castrato Farinelli)
- "Ermina" by Juan Arriaga[1]
- "Ah! perfido" by Ludwig van Beethoven
- "Der Wein" for soprano and orchestra by Alban Berg
- "Scena di Berenice" by Joseph Haydn
- "Infelice!" by Felix Mendelssohn[2]
Mozart concert arias
Among the more well-known of Mozart's concert arias are:
- "Popoli di Tessaglia!", K. 316, for soprano, with its two famous G6 notes (i.e., the G above high C - according to the Guinness Book of Records, the highest musical note ever scored for the human voice) that come shortly before the end. This aria was composed in order to be inserted into Gluck's opera Alceste, and also specifically to showcase the superlative vocal skills of Mozart's sister-in-law, Aloysia Weber, who was only 18 at the time. Sopranos who are able to cope with the aria's demands have been few and far between, and the aria is usually omitted from performances of Alceste. It has been therefore redesignated a concert aria, to be presented in concerts by such rare singers as are able to deliver its fiendishly difficult coloratura.
- "Nehmt meinen Dank, ihr holden Gönner!", K. 383, for soprano.[3][4]
- "Ch'io mi scordi di te?", K. 505, written for Nancy Storace[3]
- "Vorrei spiegarvi, oh Dio!", K. 418, written for Aloysia Weber[3]
- "Bella mia fiamma", K. 528, written for Josepha Duschek[3]
- "Per questa bella mano", K. 612, for bass, double bass obbligato, and orchestra[3]
References
Notes
- ^ Garrett 2011, p. 8.
- ^ Garrett 2011, p. 5.
- ^ a b c d e Libonati 2008
- ^ "Nehmt meinen Dank, ihr holden Gönner!" (Score)
Sources
- Garrett, David (2011). Romantic Concert Arias (CD). ABC Classics. ABC4764434.
- Libonati, Rodrigo Maffei (2008). "Mozart Concert Arias". re:opera. Archived from the original on 2009-10-27.
Further reading
- Rice, John A. (2021). "Declarations of Love and Friendship: Mozart's Concert Arias for Soprano". Ombra Compagna (liner notes). Lisette Oropesa (soprano), Antonello Manacorda (conductor), Il Pomo d'Oro (orchestra). Pentatone. PTC 5186885 – via academia.edu.
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