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Vienna, January 8, Author: This aria is perhaps the most distinguished of the series dedicated to Aloysia Weber Lange. She sang it a mere three days after its composition at a concert in a Viennese casino. On March 23 she repeated the aria in more formal surroundings at a mammoth all-Mozart concert in the Burgtheater. There is also an undated autograph copy of the vocal part.

Since the aria is similar in text and affect key of A major, slow tempo, duple meter to K. It differs from K. Vienna, June 20, Author: The circumstances concerning the composition and performance of K. I heard of this and sent a message to Count Rosenberg that I would not hand over my arias unless the following statement was printed in the copies of the libretto, both in German and Italian: The two arias on p.

Vienna, June Author: When she discovers this, in Act II, she reacts with a bravura aria, protesting her innocence. Vienna, March 10, Author: For this performance Mozart composed two extra numbers with new texts. One of the new pieces is a duet, K. At the beginning of Act II Ilia, the captive Trojan princess, begs Idamante to forget her in favor of Elettra, the woman his father has chosen for him. In the ensuring aria, Idamante refuses. The aria and much of the recitative are set to the same text Mozart was to use again nine months later in K.

Vienna, December 26, Author: This is arguably the greatest concert aria ever composed. Mozart had set the text once before, as the insertion aria K. Prague, November 3, Author: Don Giovanni opened in Prague on October 29, At the time he was a guest of Josephine and her husband at their estate outside Prague. Mozart had possibly originally intended this aria for his friend Gottfried von Jacquin, an amateur bass. But it had gone far beyond the abilities of an amateur singer, and apparently the charming Duschek persuaded Mozart to turn it over to her.

Ceres separates Proserpina from her mortal lover, Titano, who she decrees shall die. Titano expresses his profound anguish at losing not only his life but his beloved Proserpina. Vienna, April 30, Author: Lorenzo da Ponte Scoring: Vienna, July Author: The Marriage of Figaro was revived in Vienna in This is the first of two replacement arias K. Susanna is teasing Figaro who she knows is eavesdropping, for he suspects that she is about to keep a rendezvous with Count Almaviva. Vienna, August Author: He wrote it for the soprano Louise Villeneuve, a popular singer newly arrived in Vienna.

Twenty-One Concert Arias for Soprano Voice and Piano in Two Volumes, Vol. 2

The story involves a clever young man who wins a beautiful and wealthy bride, Donna Laura, by impersonating a suitor, the Baron of Rocca Azzura, whom her father has chosen for her, sight unseen. When the real baron arrives, he is attracted by another woman, Sandra. Laura finally vents her rage on the baron. This is the second of two replacement arias K.

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It is a little arietta, barely a minute and a half long and as light as thistledown. It is uncertain exactly where it fits into the action of Figaro.

Mozart : Concert Arias K. and K.

The replacement cannot compare with the original but is irresistible nonetheless, and since Mozart himself made an elegant piano reduction, it has often been appropriated by lieder singers as a song with piano accompaniment. Vienna, September 17, Author: This little-known but substantial aria has been neglected because the composer merely sketched the orchestration, although the voice part is complete.

For some reason the project was shelved, and Mozart simply dropped work on the aria. Vienna, October Author: This is the more brilliant of the two arias. The heroine, Madame Lucilla, is puzzled by the churlishness of her suitor, who, unbeknownst to her, is hopelessly in debt. Excitedly and without giving reason, he has forbidden her to mix in his personal affairs.

The situation is similar: Lucilla is troubled by the bizarre behavior of her suitor. The aria shows her deep and tender feelings, not far removed from those of Countess Almaviva. Salzburg, September Author: This recitative and aria en rondeau was composed for the alto castrato Francesco Fortini.

Fortini was a virtuoso da camera chamber virtuoso of the elector of Bavaria and was in Salzburg performing with an Italian troupe that specialized in opere buffe. It was most unusual for castrati to sing in comic opera they were already the subjects of much comic repartee , and Fortini may have appeared only in concert repertory with the company. Mozart may have provided this distinctly opera seria aria for such a concert. Here, early in the opera, Arsace takes leave of his beloved and wonders if he will ever see her again. The aria is sung by Massimo, who has just made an unsuccessful attempt on the life of the emperor.

Salzburg, December Author: The text makes specific reference to this occasion. Mozart composed another licenza , K. Salzburg, May 19, Author: In and Mozart appears to have written no fewer than five arias and scenes in connection with a visiting Italian opera buffa troupe in Salzburg: Perhaps it served as an insertion aria in the same opera as the contemporaneous aria, K.

It is conceivable that Mozart wrote these arias for the use of a local Salzburg singer performing with the Italian troupe. Salzburg, May Author: In this scene the devil-may-care Capitano Faccenda, disguised as a doctor, appeals boastfully for the hand of Clarice, the daughter of Don Timoteo, the wealthy but choleric landowner who sings the present aria. The following year Mozart composed another insertion aria, K.

Mozart composed this aria specifically for the singer Antonio Palmini.

Twenty-one concert arias for soprano : complete volumes I and II

It is an insertion aria for the same opera and scene as K. Typically for a buffa aria of this sort, a second character Don Timoteo interrupts with commentary in recitativo secco. This is one of the three concert arias K. He composed the works for three of the principal singers of Mannheim: Raaff was reportedly delighted, but asked Mozart to shorten the composition. Mozart was later to create the title role in his opera Idomeneo for Raaff. It is possible that the tenor aria K. No more is known of the projected opera. The present aria, unlike the fragmentary K. Vienna, June 21, Author: Like the two arias K.

Mozart composed it specifically for the German Johann Valentin Adamberger, one of the finest tenors of his day, for whom Mozart later created the role of Belmonte in The Abduction from the Seraglio. Vienna, April 24, Author: He was eager to be recognized as a master of Italian operatic music and asked Mozart for a highly effective solo that he could introduce into a forthcoming Vienna production of the opera Temistocle , originally set to music by Andrea Bernasconi.

In this aria, Sebaste, a subsidiary character, has been found out in evil-doing, and is filled with remorse. Vienna, March 19, Author: This aria was also composed at the request of Ludwig Fischer.

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Fischer had been dropped from the Vienna Italian Opera Company and he evidently wished to show authority its grave mistake. Again Mozart went back to a Metastasio text; this time he chose words he had already set in for the soprano Aloysia Weber Lange see K. Vienna, March 23, Author: Like the aria K. In this aria, a father is bidding farewell to his daughter.

Vienna, March 5, Author: Johann Wilhelm Ludwig Scoring: The poem was by J.

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This charming trifle came into being while the master was busy preparing Don Giovanni for its Vienna premiere. Vienna, May Author: The clouds of mystery have not yet completely lifted from this short piece. But the English scholar Alan Tyson has shown that the surviving autograph fragment is of a type of paper that Mozart used primarily in Vienna, December Author: The bass soldier, Guglielmo, is the first to do the courting on behalf of both of them: The disguised Guglielmo begins the aria by addressing his own sweetheart, recommending his tenor friend to her attention; he then asks her sister to admire his own virtues.

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When his wooing turns out to be unsuccessful, he is delighted: Vienna, March 8, Author: The occasion was most likely a subscription concert for Gerl or Pichelberger. Mozart treats both soloists as virtuosi, asking the double bassist for plentiful double-stops in thirds, rapid scales, arpeggios, and wide leaps, and the bass singer for comparable feats. Vienna, November 5, Author: Vienna, November 21, Author: The original opera had premiered the previous year in Bologna. In the opera, the Count is in love with Mandina, a simple peasant girl who is engaged to marry the peasant boy Pippo.

Finally the Count decides to abduct Mandina by giving her a sleeping potion. Though it happened without his knowledge, K.

No, che non sei capace - KARAOKE / PIANO ACCOMPANIMENT - KV 419 - Mozart

Vienna, April 28, Author: Concert arias and scenes for soprano K. Per quel paterno amplesso K 6 73d Origin: Sol nascente K 6 61c Origin: Misero pargoletto K 6 73e Origin: Vocal - choral Choral and vocal ensembles Libretti Voice solo - piano Voice solo and instruments. Voice solo - piano Alto - piano Bass - piano Soprano - piano Tenor - piano. You have this item? The product range of barenreiter. More than a million musicians are already trusting us!

The first three volumes comprise all arias for soprano and orchestra. They are classified according to voice type high soprano, soprano, low soprano and alto and arranged chronologically within the volumes. Unlike the NMA the musical text presented in these editions is free from practical references on performance aspects or suggestions on performance practice. Instead, each volume contains a accompanying brochure, with detailed explanations on the execution of appoggiaturas and other performance practice phenomena which are relevant to every aria.