handel arias
Jennifer Peterson is creating new piano reductions of Handel Opera Arias
Scores are being printed and sold by Glendower Jones of Classical Vocal Reprints.
Arias are published individually.
Each packet includes:
• basic background on opera, libretto, and cast of characters
• text and translation of aria and preceding recitative
• synopsis of complete opera, highlighting selected aria
• clean, practical, playable piano reduction, with figured bass realized accurately and simply
• orchestra parts, including full score, for concert performance
• performance and stylistic suggestions, including tips on ornamentation
This site will be updated as more arias become available for purchase.
The first two are now available:
1. “Dopo notte” from Ariodante – Ariodante, Act III – mezzo-soprano (requested by countertenor Robert Lee)
2. “Qual farfalletta” from Partenope – Partenope, Act II – soprano (requested by voice teacher Arthur Levy)
Next in the queue:
3. “Di, cor mio” from Alcina – Alcina, Act I – soprano (requested by pianist John Mannos)
4. “Cara sposa” from Rinaldo – Rinaldo, Act I – contralto (for Earl Buys)
5. “Agitato da fiere tempeste” from Riccardo Primo – Riccardo, Act I – contralto (requested by countertenor Biraj Barkakaty)
6. “Stille amare” – Arioso from Tolomeo – Tolomeo, Act III – contralto (requested by Biraj Barkakaty)
7. “Cielo! se tu il consenti, deh!” from Orlando – Orlando, Act II – contralto (for mezzo-soprano Jennifer Hines)
8. “Credete al mio dolore” from Alcina – Morgana, Act III - soprano (requested by soprano Sarah Ann Mitchell)
9. “Pensieri, voi tormentate” from Agrippina – Agrippina, Act II – soprano (requested by soprano Sirje Viise)
10: “Piangi pur” from Tolomeo – Araspe, Act II – bass (requested by bass Dean Elzinga)
11: “Gelido, in ogni vena” from Siroe – Cosroe, Act III – bass (also for Mr. Elzinga)
If you wish to request an aria be ‘reduced’ please submit your suggestions in ‘comments’ on this site, or directly to Jennifer via twitter or email: operajen@yahoo.com.
Please check back for updates!
Cara Speme/Sesto/Giulio Cesare in Egitto
in D
Great, GREAT aria. Because it’s a continuo aria, basically no two accompanists would agree on a realization. I’m curious how this would best be approached. I don’t think I’ve ever been satisfied with a printed realization, so I keep mine extremely simple. I guess this could be done for “Cara speme” as well.
And yeah, I hadn’t even started to considered doing transposed versions of all of these. Hmmm….. you’ve got me thinking, Maggie. Email me directly if you’d like to discuss it more in detail! Or just leave more comments.
- Jennifer
Agrippina’s Pensieri, pretty pretty please! Perhaps there is a decent edition out there, but I sure as heck have not found it.
Great idea, Sirje. I”ll do it.
- Jennifer
This is a wonderful enterprise! So glad you are doing it. I’m just about to perform Stille amare. When you print orchestra parts, will you include pre-realized continuo parts, or figured bass, or both?
Looking forward to purchasing your work! And hello to Glendower!
Stephanie
Figured bass realizations are included in piano reductions. For concert performance, continuo player may read from the score. If they are not experienced in writing/realizing Handelian figured bass, the piano reduction can be used as an easy reference.
There seem to be a few glaring misprints in Chrysander’s edition of “Stille amare” — working on it now. That’s great you’re performing it, what an amazing scene.