Searching for Baritone/Tenor Duets
rk371
PRODANA NEVESTA (BARTERED BRIDE) - Kecal / Jenik duet from Act 2 (in German
it's "Komm, mein Sohnchen")
LA FORZA DEL DESTINO - Solenne in quest' ora
LES PECHEURS DE PERLES - Au fond du temple saint
I'll try to come up with some others.
Good luck
Richard
Mike Richter
baritone/tenor duets by artists with voices similar to yours. Note the
titles and listen to recordings of those selections. Find the collection
which satisfies your needs.
There's a wide range of voices within the broad classifications of tenor
and baritone. If my choices are Wagnerian and your voices are Handelian
...
Mike
Robert P Wilson wrote:
>
> I am fortunate to have a very talented tenor willing to sing with me on
> my senior recital, but I am having trouble finding suitable material for
> us to sing. Could anyone please suggest their favorites? I'm hoping to
> find the kind of piece that leaves no doubt that both of us can really
> SING. The kinds of things I'm looking for would be dramatic, exciting,
> possibly florid, and not too heavily weighted toward the tenor, since
> it's my recital, and I'm the baritone. I'll take any suggestions,
> operatic & otherwise!
>
> Thanks for your help!
>
> My E-mail address is rwils...@earthlink.net
--
mric...@cpl.net
http://mrichter.simplenet.com
CD-R http://resource.simplenet.com
Robert P Wilson
Oisk17
The Pearl Fishers, Otello, Don Carlo, and La Boheme are sung with Robert
Merrill, are beautifully done, and any one of them would be a good choice.
Regards,
Paul
Mark Slater
final piece, as it is so beautiful and moving. The first act of Madama
Butterfly with Sharpless and Pinkerton. Find a good soprano and do the first
act trio from Il Trovatore. That should be fun.
Mark Slater
Per aures ad animum
"Through the ears to the spirit"
Capa0848
>From: Robert P Wilson rwils...@earthlink.net
>Date: 06/21/2000 8:26 PM Pacific Daylight Time
>Message-id: <395188C4...@earthlink.net>
Heartily second the Don Carlo and Pearl Fishers recommendations. Another great
duet is "Si pel ciel" from Otello, Act II.
And yet another is "Solenne in quest'ora" from G/P Dave's favorite opera, "La
Forza del Destino.
Pat
David Shengold
Since you are students and may not want to do the Verdian heavies, how about
(if you're serious about florid music) besides the inevitable BOHEME and
PEARL FISHERS, spoiled for me by too many concert hearings, doing "All'
idea di quel metallo" from IL BARBIERE DI SIVIGLIA-- tuneful, fun, varied
and thrilling if well done. Unlike some similar bel canto duets (like the
"Venti scudi?" Nemorino/Belcore duet from L'ELISIR D'AMORE), the scene is
pretty equally weighted, so the baritone gets to show off as much as the
tenor, though the tenor has the more memorable melodic line in the
cabaletta.
I don't think most of us tend to remember how wonderful the less-heard music
of BARBIERE is. If you two can sing this duet well, you can sing anything.
-David Shengold
CTB
Called Gondolieri"). It's amusing and a real audience pleaser.)
"Robert P Wilson" <rwils...@earthlink.net> wrote in message
news:395188C4...@earthlink.net...
> I am fortunate to have a very talented tenor willing to sing with me on
> my senior recital, but I am having trouble finding suitable material for
> us to sing. Could anyone please suggest their favorites? I'm hoping to
> find the kind of piece that leaves no doubt that both of us can really
> SING. The kinds of things I'm looking for would be dramatic, exciting,
> possibly florid, and not too heavily weighted toward the tenor, since
> it's my recital, and I'm the baritone. I'll take any suggestions,
> operatic & otherwise!
>
Tom Kaufman
from less familiar operas.
These include:
Reine de Chypre
Orazi e Curiazi
Maria de Rudenz
Dom Sebastien
Pia de Tolomei
and many others.
All of them have been recorded, although not necessarily complete.
Cheers
Don Tomasso di Repertoriomania
Tom Kaufman
URL of web site:
www.geocities.com/Vienna/8917/index.html
VALFER
Some old chesnuts:
La Boheme
Il Barbiere di Siviglia
Don Carlo
Les Pêcheurs de Perles
Cosi Fan Tutte ( 2 )
L'Elisir d'Amore
Some dramatic showstoppers:
Guillaume Tell (Perhaps a bit too much "tenor", but the baritone is the
title role.)
Otello
La Forza del Destino (2 + a small third in one opera)
La Gioconda
Lucia di Lammermoor (unfortunately usually cut in performance)
I Vespri Siciliani
Other:
Die Fledermaus (when Eisenstein is sung by a tenor)
A personal favorite:
Un Giorno di Regno (Verdi), Act I. It is in two sections, with the first
sounding a bit Rossinian, and the second a full-blown Verdi cabaletta.
Enjoy!
Valfer
Evelyn Vogt Gamble (Divamanque)
recital - however, I suspect finding a piano reduction of
the score to some of your suggestions might be a bit
difficult. (And the original poster was looking for things
to PERFORM, not just listen to!)
Mark D. Lew
(Divamanque)" <evg...@earthlink.net> wrote:
> I agree with you about choosing unfamiliar items for a
> recital - however, I suspect finding a piano reduction of
> the score to some of your suggestions might be a bit
> difficult. (And the original poster was looking for things
> to PERFORM, not just listen to!)
I don't know about the other four, but I've got a copy of the Dom Sebastien
one. It's PD, so I could pass on a copy.
mdl
GRNDPADAVE
>Date: 06/22/2000 8:24 AM Central Daylight Time
>Message-id: <8it460$lld$1...@slb2.atl.mindspring.net>
>
>There is a splendid duet in The Gondoliers by Gilbert & Sullivan. ("We're
>Called Gondolieri"). It's amusing and a real audience pleaser.)
>
From the same opera, I enjoy the shared song:
"Replying we sing as one individual,
As I find I'm a king
To my kingdom I bid you all"
with the brothers Palmieri interleaving words and sometimes syllables.
G&S are, imho, the greatest composers of comic opera England ever produced.
==G/P Dave
tresbirri
grndp...@aol.com (GRNDPADAVE) wrote:
>
> G&S are, imho, the greatest composers of comic opera England ever
produced.
>
> ==G/P Dave
G/P Dave = "and a good judge, too"!!
I share your opinion and was happy to read it on this forum.
Sent via Deja.com http://www.deja.com/
Before you buy.
Matthew B. Tepper
>
> >plan...@mindspring.com
> >Date: 06/22/2000 8:24 AM Central Daylight Time
> >Message-id: <8it460$lld$1...@slb2.atl.mindspring.net>
> >
> >There is a splendid duet in The Gondoliers by Gilbert & Sullivan.
> >("We're Called Gondolieri"). It's amusing and a real audience pleaser.)
> >
> ~~~~~~~~~~~~~~~~~~~~~~~~
> From the same opera, I enjoy the shared song:
>
> "Replying we sing as one individual,
> As I find I'm a king
> To my kingdom I bid you all"
>
> with the brothers Palmieri interleaving words and sometimes syllables.
>
> produced.
I can't even think of a runner-up! Noël Coward, maybe?
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
"Compassionate Conservatism?" * "Tight Slacks?" * "Jumbo Shrimp?"
Karen Mercedes
> >plan...@mindspring.com
> >Date: 06/22/2000 8:24 AM Central Daylight Time
> >Message-id: <8it460$lld$1...@slb2.atl.mindspring.net>
> >
> >There is a splendid duet in The Gondoliers by Gilbert & Sullivan. ("We're
> >Called Gondolieri"). It's amusing and a real audience pleaser.)
> >
> ~~~~~~~~~~~~~~~~~~~~~~~~
> From the same opera, I enjoy the shared song:
>
> "Replying we sing as one individual,
> As I find I'm a king
> To my kingdom I bid you all"
>
> with the brothers Palmieri interleaving words and sometimes syllables.
>
> G&S are, imho, the greatest composers of comic opera England ever produced.
Isn't this rather like saying "I think Claudio Monteverdi was the best
opera composer that late Renaissance Italy ever produced"?
Karen Mercedes
-----
Ich singe, wie der Vogel singt,
Der in den Zweigen wohnet;
Das Lied, das aus der Kehle dringt,
Ist Lohn, der reichlich lohnet.
-- J.W. von Goethe, WILHELM MEISTER
My NEIL SHICOFF Website:
http://www.radix.net/~dalila/shicoff/shicoff.html
My Website:
http://www.radix.net/~dalila/index.html
Mark D. Lew
> > G&S are, imho, the greatest composers of comic opera England ever
> > produced.
oyţ@earthlink.net wrote:
> I can't even think of a runner-up! Noël Coward, maybe?
Indeed. Not to denigrate G&S at all -- they are indeed great -- but
there's a glaring lack of competition in this field.
I would further add that G&S are the greatest composers of any sort of
opera that England produced between 1700 and 1940. What other contender
might there be? Michael Balfe? Rutland Boughton? Jules Benedict? Ethel
Smyth? Frederick Delius?
(For what it's worth, I do think Boughton is underrated but I'd still rank
him second behind G&S. The rest, I think, get pretty much the attention
that they warrant -- ie, a little, but not much.)
mdl
tlst...@tpgi.com.au
<rwils...@earthlink.net> wrote:
> I am fortunate to have a very talented tenor willing to sing with me on
> my senior recital, but I am having trouble finding suitable material for
> us to sing. Could anyone please suggest their favorites? I'm hoping to
> find the kind of piece that leaves no doubt that both of us can really
> SING. The kinds of things I'm looking for would be dramatic, exciting,
> possibly florid, and not too heavily weighted toward the tenor, since
> it's my recital, and I'm the baritone. I'll take any suggestions,
> operatic & otherwise!
>
> Thanks for your help!
>
> My E-mail address is rwils...@earthlink.net
Depths of the Temple; Solenn in quest'ora; Gendarme's duet; Gondoliers'
duet; The Moon has Raised her Lamp Above; Excelsior!
--
Cheers!
Terry
Matthew B. Tepper
>
> (For what it's worth, I do think Boughton is underrated but I'd still
> rank him second behind G&S. The rest, I think, get pretty much the
> attention that they warrant -- ie, a little, but not much.)
I fear I must disagree. And I speak as one who survived a hearing of
the recording of _The Interminable -- 'scuse me, Immortal Hour_.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
David Shengold
> From: "Matthew B. Tepper" <o...@earthlink.net>
> "Mark D. Lew" wrote:
>>
>> (For what it's worth, I do think Boughton is underrated but I'd still
>> rank him second behind G&S. The rest, I think, get pretty much the
>> attention that they warrant -- ie, a little, but not much.)
>
> I fear I must disagree. And I speak as one who survived a hearing of
> the recording of _The Interminable -- 'scuse me, Immortal Hour_.
Of course Boughton doesn't quite rise to the dizzying heights of THE
WRECKERS or AT THE BOAR'S HEAD either...
-DLS
Matthew B. Tepper
While some of us hoard our CDs of _Pilgrim's Progress_, _Sir John in
Love_ and _Riders to the Sea_, and are still breathlessly awaiting the
first recording of _The Poisoned Kiss_!
Jon Davis
>> >> still rank him second behind G&S.
I really think that place belongs to Edward German. His MERRIE ENGLAND is very
close indeed to G&S, and has been popular in England just as long as MIKADO.
There's a good recording of MERRIE ENGLAND available on the Classics for
Pleasure label (7243 5 68917 2 2) with William McAlpine, June Bronhill, Peter
Glossop, Monica Sinclair and Patricia Kern. Also, German's TOM JONES has been
produced quite recently and broadcast over the CBC.
Jon Davis
A closed mouth gathers no feet.
Evelyn Vogt Gamble (Divamanque)
"march of the suffragettes") she also is underrated - but
I've not heard any of her operas, although I know she wrote
some.
"Mark D. Lew" wrote:
>
> I would further add that G&S are the greatest composers of any sort of
> opera that England produced between 1700 and 1940. What other contender
> might there be? Michael Balfe? Rutland Boughton? Jules Benedict? Ethel
> Smyth? Frederick Delius?
>
> (For what it's worth, I do think Boughton is underrated but I'd still rank
> him second behind G&S. The rest, I think, get pretty much the attention
> that they warrant -- ie, a little, but not much.)
>
> mdl
Christopher H Walker
> "march of the suffragettes") she also is underrated - but
> I've not heard any of her operas, although I know she wrote some.
Smyth.
A recording of THE WRECKERS was released on cd in 1994 and I found
some of it, particularly in the orchestral writing, quite effective.
I would be very interested in any opportunity to hear any of the
others.
The Chagall trio issued a cd of some of her chamber works, which
I found very ingratiating if not startlingly original (they may
have chosen some of her more conservative pieces).
I fear it may be out of print.
The Mass left me cold, though I think it lingered in the concert
hall longer than her other large scale works.
I find her more interesting than the other English composers that
were listed, though I admit that my interest started with her vivid
memoirs, before I had heard any of her compositions.
Michael Balfe, of course, was not English, though the librettos
he set were in the English language. I'd welcome an opportunity
to hear any of his operas, too. The only one I know at all (from
a recording, and the popular recital air) is BOHEMIAN GIRL.
Christopher H. Walker
Karen Mercedes
> Replying to G/P Dave:
>
> > > G&S are, imho, the greatest composers of comic opera England ever
> > > produced.
>
> oyþ@earthlink.net wrote:
>
> > I can't even think of a runner-up! Noël Coward, maybe?
>
> Indeed. Not to denigrate G&S at all -- they are indeed great -- but
> there's a glaring lack of competition in this field.
>
> I would further add that G&S are the greatest composers of any sort of
> opera that England produced between 1700 and 1940. What other contender
> might there be? Michael Balfe? Rutland Boughton? Jules Benedict? Ethel
> Smyth? Frederick Delius?
Thomas Arne maybe.
Karen Mercedes
> While some of us hoard our CDs of _Pilgrim's Progress_, _Sir John in
> Love_ and _Riders to the Sea_, and are still breathlessly awaiting the
and don't forget HUGH THE DROVER!
> first recording of _The Poisoned Kiss_!
So has anyone actually ever heard Goring-Thomas' NADEZHDA?
David Shengold
> From: "Matthew B. Tepper" <o...@earthlink.net>
> Karen Mercedes wrote:
Actually there is no hyphen, it's not like Terry-Thomas!
Arthur Goring Thomas (1850-92) was a pupil of Sullivan and Max Bruch.
Bernard Shaw writes interestingly about NADEZHDA ( there's another A.G.T.
opera called ESMERELDA) in his music criticism. He went insane, poor man,
the year before he died.
-David Shengold
>> On Fri, 23 Jun 2000, Matthew B. Tepper wrote:
>>
>>> While some of us hoard our CDs of _Pilgrim's Progress_, _Sir John in
>>> Love_ and _Riders to the Sea_, and are still breathlessly awaiting >
>> and don't forget HUGH THE DROVER!
>
> D'oh! But I did!
>
>>> first recording of _The Poisoned Kiss_!
>>
>> So has anyone actually ever heard Goring-Thomas' NADEZHDA?
>
> I haven't even heard of Goring-Thomas; but then, we wouldn't want to put
> that surname into a subject line and get the troll all excited, would
> we?
Matthew B. Tepper
>
> On Fri, 23 Jun 2000, Matthew B. Tepper wrote:
>
> > While some of us hoard our CDs of _Pilgrim's Progress_, _Sir John in
> > Love_ and _Riders to the Sea_, and are still breathlessly awaiting >
> and don't forget HUGH THE DROVER!
D'oh! But I did!
> > first recording of _The Poisoned Kiss_!
>
> So has anyone actually ever heard Goring-Thomas' NADEZHDA?
I haven't even heard of Goring-Thomas; but then, we wouldn't want to put
that surname into a subject line and get the troll all excited, would
we?
--
Mark D. Lew
> I fear I must disagree. And I speak as one who survived a hearing of
> the recording of _The Interminable -- 'scuse me, Immortal Hour_.
I survived a couple of performances (unstaged) from the chorus. True, the
piece could use some editing, but I think it has some grand moments. (One
might say the same of Wagner....) And you gotta love that faux-Ossian
poetry -- "green fire of joy" and all that. Delicious.
Anyway, I never meant to claim Boughton was great, or even near-great, just
somewhat underrated compared to the other 19th century British
non-entities.
--
Tepper again:
> While some of us hoard our CDs of _Pilgrim's Progress_, _Sir John in
> Love_ and _Riders to the Sea_, and are still breathlessly awaiting the
> first recording of _The Poisoned Kiss_!
Oh, I think Pilgrim's Progress is marvelous! -- especially the Vanity Fair
act -- but the work wasn't completed until the 1950s. That's why I set the
limits of 1700 to 1940. Starting with Britten, British opera starts getting
good again.
--
Evelyn added:
> From the little I've heard of Smythe's music (aside from her
> "march of the suffragettes") she also is underrated - but
> I've not heard any of her operas, although I know she wrote
> some.
I've read quite good things about Ethel Smyth, which suggested to me she
may be one of those neglected geniuses (a la Goldmark, Weinberger, Enescu,
Szymanowski, eg), but when I read through the Wreckers score it left me
totally cold. Maybe it's one of those pieces where the PV score doesn't do
the piece justice, but it didn't look that way to me. I had a similar
reaction to Deems Taylor's King's Henchman: awful.
--
Christopher H Walker <chwa...@steel.ucs.indiana.edu> wrote:
> Michael Balfe, of course, was not English, though the librettos
> he set were in the English language. [...]
Actually Balfe's first operas were in Italian. As you know, he was born in
Ireland, but I believe English was his first language.
I thought I had changed the description to "British" as opposed to English.
I see I did that in the subject line, but not the text of the message. (I
also was thinking, mistakenly, that Boughton was Scottish....)
> I'd welcome an opportunity
> to hear any of his operas, too. The only one I know at all (from
> a recording, and the popular recital air) is BOHEMIAN GIRL.
That's all I know, too. I find Bohemian Girl sounds a lot like a
second-rank Auber opera-comique translated into English -- not such a
terrible thing to be, really, but not something I'd lobby to see produced
either.
--
In article <Pine.SV4.3.96.100062...@saltmine.radix.net>,
Karen Mercedes <dal...@radix.net> wrote:
> So has anyone actually ever heard Goring-Thomas' NADEZHDA?
Just that one mezzo aria -- "my heart is weary" or something like that. I
was not impressed. Makes "marble halls" seem exciting.
--
Edward German and Thomas Arne are new names to me. I'll have to check them
out. Thanks for the leads.
mdl
Mark D. Lew
> Actually there is no hyphen, it's not like Terry-Thomas!
Not only is there no hyphen, but "Goring" is a middle name, not a surname.
It's not like Vaughan Williams.
The fact that many people assume Arthur Goring Thomas has a double surname,
when in fact his true surname is simply "Thomas", puts him in exactly the
same category as Michael Tilson Thomas.
mdl
David Shengold
A good comparison, because Shaw at least, does refer to him consistently as
"Goring Thomas". Maybe to differentiate him from Ambroise Thomas?
-DLS
Matthew B. Tepper
>
> Edward German and Thomas Arne are new names to me. I'll have to check
> them out. Thanks for the leads.
You're kidding. But I'll bet you know *one* song by Dr. Arne! Hint:
it's from his masque, "Alfred."
David Shengold
Well, besides *that* stand-by of Clara Butt and Constance Shacklock, you
might have heard "The soldier tir'd" from ARTAXERXES as done( phenomenally)
by Sutherland on ART OF THE PRIMA DONNA.
-DLS
> From: "Matthew B. Tepper" <o...@earthlink.net>
Mark D. Lew
<shen...@pobox.upenn.edu> wrote:
> A good comparison, because Shaw at least, does refer to him consistently as
> "Goring Thomas". Maybe to differentiate him from Ambroise Thomas?
Perhaps, though one would think "Arthur" a more obvious choice for
distinction. I have three volumes that alphabetize Arthur Goring Thomas
under "T", none that alphabetize him under "G". (And several that don't
list him at all....)
It's curious how these things come about. I know from second-hand anecdote
that Michael Tilson Thomas feels no need to correct those who think of him
as "Mr Tilson Thomas" and even found the fancier-sounding name useful early
in his career. Perhaps "Tilson Thomas" is how he will be listed in
reference books decades from now, even though he wasn't born that way.
I note with interest that my old Rupert Hughes music encyclopedia
alphabetizes Ralph Vaughan Williams under "W" rather than "V". Perhaps
that's a simple error, or perhaps it's an indication of an earlier habit.
Does anyone know? Was RVW's father Mr Vaughan Williams, or simply Mr
Williams?
mdl
Mark D. Lew
> You're kidding. But I'll bet you know *one* song by Dr. Arne! Hint:
> it's from his masque, "Alfred."
I assume you're talking about "Rule, Brittania", which I read about when I
looked him up -- but I didn't know the name of the composer.
mdl
Jon Davis
>> it's from his masque, "Alfred."
>
>I assume you're talking about "Rule, Brittania", which I read about when I
>looked him up -- but I didn't know the name of the composer.
>
Arne-cho glad it wasn't Handel!