Music Education: History in Songs of the October Revolution Song
No matter how belated curses are sent to Lenin and the Bolsheviks, no matter how rampant demonic, satanic forces the October Revolution is declared by some pseudo-historians, the book of…

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Children's classical music
Classical composers devoted many pages of their work to children. These musical works are written taking into account the peculiarities of children's perception, many of them are specially for small…

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Throat singing technique: some secrets from the simplest
The technique of throat singing cannot be mastered like this, just reading books or articles on the topic. Partly because the person who is eager to learn this art lacks…

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Famous arias from Verdi’s operas

Giuseppe Verdi is a master of musical drama. The tragedy is inherent in his operas: they have a fatal love or love triangle, a curse and revenge, moral choice and betrayal, vivid feelings and almost indispensable death of one or even several heroes in the finale. The composer adhered to the tradition established in the Italian opera – to rely on the singing voice in opera action. Often opera parties were created specifically for specific performers, and then they began to live their own lives, going beyond the theater. Such are many arias from Verdi’s operas, which were included in the repertoire of outstanding singers as independent musical numbers. Here is some of them.

“RITORNA VINCITOR!” (“GO BETWEEN VICTORY TO US …”) – AIDA ARIA FROM “AIDA” OPERA When Verdi was asked to write an opera for the opening of the Suez Canal, he first refused, but then changed his mind and literally a few months later appeared “Aida” – a sad story-tale about the love of the Egyptian military leader Radames and the slave Aida, daughter of the king of Ethiopia, hostile to Egypt. Love is hindered by the war between states and the intrigues of the daughter of the Egyptian king Amneris, who was also in love with Radames. The finale of the opera is tragic – lovers die together. The aria “Come back with a victory to us …” sounds at the end of the 1st scene of the first action. Pharaoh appoints Radames commander of the army, Amneris urges him to return with victory. Aida is in dismay: her beloved goes to fight against her father, and both are equally dear to her. She appeals to the gods with a plea to deliver her from these torments.

“STRIDE LA VAMPA!” (“THE FLAME IS BLAZING”) – THE SONG IS ACCUMULATED FROM THE OPERA Troubadour The troubadour is a tribute to the composer of romantic tendencies. The opera is distinguished by an intricate plot with a mystical touch: with a thirst for revenge, the substitution of infants, fights, executions, death from poison and violent passions. Count di Luna and troubadour Manrico, raised by a gypsy Azucena, turn out to be brothers and rivals in love for the beautiful Leonora. The Arias from Verdi’s operas can also include Azucheni’s song from the 1st scene of the second act. Gypsy camp campfire. Looking at the fire, the gypsy recalls how her mother was burned at the stake.

“ADDIO, DEL PASSATO” (“SORRY, FOREVER …”) – ARIA VIOLETTA FROM THE OPERA “TRAVIATA” The plot of the opera is based on the play by A. Dumas the son “Lady with Camellias”. The father of the young man intervenes in the relationship of Alfred Germont and the courtesan Violetta, demanding to break the vicious connection. For the sake of his beloved sister, Violet agrees to break up with him. She assures Alfred that she fell in love with another, for which the young man severely insults her. One of the most penetrating arias from Verdi’s operas is Violetta’s aria from the third act of the opera. A terminally ill heroine dies in a Paris apartment. After reading the letter of Germont Sr., the girl learns that Alfred found out the truth and goes to her. But Violetta understands that she has only a few hours left to live.

“PACE, PACE, MIO DIO!” (“PEACE, PEACE, ABOUT GOD …”) – ARIA LEONORA FROM THE OPERA “FORCE OF DESTINY” The opera was written by the composer at the request of the Mariinsky Theater, and its premiere took place in Russia. Alvaro accidentally kills the father of his beloved – Leonora, her brother Carlos vows to take revenge on both. Complex storylines bring Alvaro and Carlos, who for the time being do not know how their fates are connected, and the girl settles in a hermit in a cave near the monastery, in which her lover becomes a novice. Aria sounds in the second scene of the fourth act. Carlos finds Alvaro in the monastery. While men are fighting on swords, Leonora in her hut remembers her beloved and prays to God to send her peace. Of course, the arias from Verdi’s operas are performed not only by heroines, but also by heroes. Everyone knows, for example, the song of the Duke of Mantua from Rigoletto, but remember another wonderful aria from this opera.

“CORTIGIANI, VIL RAZZA” (“KURTISANS, THE DISAPPEARANCE OF THE VICTORY …”) – ARIA RIGOLETTO FROM THE OPERA “RIGOLETTO” The opera was created on the basis of the drama “The King Amuses” by V. Hugo. While working on the opera, censorship out of fear of political allusions forced Verdi to change the libretto. So the king became the duke, and the action was transferred to Italy. The duke, a famous rake, makes Gilda fall in love with herself, the beloved daughter of the jester – the hunchback Rigoletto, for which the jester swears to avenge his master. Despite the fact that the girl is convinced of the frivolity of her lover, she saves him from her father’s revenge at the cost of her life. The aria sounds in the third (or second, depending on the setting) action. The courtiers stole Jilda from the house and delivered to the palace. The Duke and the Fool are looking for her. First, that she is in the castle, the duke recognizes, and then Rigoletto. The hunchback in vain begs the courtiers to return his daughter to him.

“ELLA GIAMMAI M’AMÒ!” (“NO, I DO NOT LOVE ME …”) – ARIA OF THE KING OF PHILIPPE FROM THE OPERA “DON CARLOS” The libretto of the opera is written based on the drama of the same name by I. F. Schiller. The love line (King Philip – his son Don Carlos, in love with his stepmother – Queen Elizabeth) intersects here with the political one – the struggle for the liberation of Flanders. Philip’s great aria begins the third act of the opera. The king is thoughtful in his chambers.

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