Search results
Results from the WOW.Com Content Network
Notturno (terzet) for two sopranos, bass and three basset horns: Metastasio L'Olimpiade, I, 7: 16 July 1788 Anh. 5: 571a "Caro mio Druck und Schluck" Quartet for soprano, two tenors, bass and piano (fragment) Wolfgang Amadeus Mozart: beginning of 1789 615 "Viviamo felici in dolce contento" Choir of amateurs and strings (fragment) Tommaso Grandi ...
Sissel's musical style runs the gamut from pop recordings and traditional folk songs, to classical vocals and operatic arias. She possesses a "crystalline" voice [2] and wide vocal range, sweeping down from mezzo-soprano notes, in arias such as Mon cœur s'ouvre à ta voix from Saint-Saëns's opera Samson et Dalila, to the F natural above ...
Main page; Contents; Current events; Random article; About Wikipedia; Contact us
Among the more well-known of Mozart's concert arias are: "Popoli di Tessaglia!", K. 316, for soprano, with its two famous G 6 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.
Carmen: Duets & Arias is an album released in 2010 by Italian tenor, Andrea Bocelli. [2] The album is a collection of arias of Georges Bizet's opera Carmen, including duets with Welsh bass-baritone, Bryn Terfel, Russian mezzo-soprano Marina Domashenko, and Italian soprano Eva Mei, from the French opéra comique.
The soprano clef for the singer indicates a soprano voice for all arias. They are in different keys , and all of them are da capo arias. The fourth aria, that is " Bist du bei mir ", is in E-flat major (although notated with only two flats at the clef), and has the most extended instrumentation: first violin (vl1), second violin (vl2), viola ...
Vetro recalled the moment he heard Jolie sing "O mio babbino caro," a soprano aria from the 1918 opera Gianni Schicchi, calling it the "most thrilling day" of their time together. "I was like ...
Dove sono" (Where are [those happy moments]) [1] is an aria in Italian for lyric soprano from the third act of Mozart's 1786 opera Le nozze di Figaro (The Marriage of Figaro). Countess Almaviva laments , in an initial recitative, that her husband has become a philanderer, and that she must rely on assistance from her maid to manipulate him.