Yuri Marusin. Tenor. Rarely performed repertoire. For voice and piano

For a long time in the opera world there were many groups of singers executing only the music of Wagner, Verdi or Mozart. Who are they? Hostages of choice, or wise men who correctly estimated the nature and possibilities of their voice, using their talent reasonably and effectively on perfect executions of opera parties? In the history of opera there are many examples of outstanding singers who execute no more than 10 titled parts, while others had more than a 100 roles in their repertoire! However, the notion of “quantity” and “quality” in art has always been very controversial and contradictory.

Today universal and versatile singers come ahead — omnivorous in a choice and development in an opera repertoire! However, they are not always guided by healthy creative vanity. Unfortunately, they are often only interested in money. It’s no accident that there are many singers who naturally must not perform a certain part. For example, a tenor with a voice of Almaviva sings Calaf, and the soprano, a born Gilda — tries to portray Leonora. The situation is even worse when the tenor, for example, goes into baritones... It’s already a real substitution, imitation and profanation of opera art. There is a rather conditional concept of a lyrical and dramatic voice. Its nature is not taken into consideration: the timbre, issue, expression and the force of the voice. If a singer hits the high notes, somehow the voice is scaled and does not detonate, it is considered that he (she) embraces with the part. These latter-day “conventions” negatively affect the quality of the performance.

It’s also certain that a modern singer, in order to grow and develop needs to try his voice to different styles and eras of music. Constantly complicating their repertoire, in order to accustom the vocal device to large loads. Only by overcoming vocal and technical difficulties, can the singer move forward! During the course of work on parties your voice will find the “niche” and the singer will feel and understand, what music or party lays down on his voice more organically. However you shouldn’t hurry in order to master the dramatic repertoire, so that one day you wouldn’t regret about it, to sing long and well! I don’t know, how you should treat such a dashing and an inconsistent saying occurring among vocalists: “It is impossible to sing all parties, but it is necessary to aspire to it”...

Yuri Marusin

Contents

BAROQUE ARIAS
G. Carissimi. Vittoria, vittoria! Cantata
A. Stradella. Pietа, Signore... Aria
A. Scarlatti. Caldo sangue. Aria of Ismail from the oratorio “Sedecia, re di Gerusalemme”
F. Gasparini. Lasciar d’amarti. Aria from Cantata № 2
G. Bononcini. Per la gloria d’adorarvi... Aria from the opera “Griselda”
G. Händel. Amor, tiranno amor... Aria of Arsamene from the opera “Serce”. Verses by N. Minato
Ch. W. Glück. Oh, del mio dolce ardor. Aria of Paride from the opera “Paride ed Elena”. Arranged by W. Rust
FOREIGN CLASSICAL OPERA’S ARIAS
S. Mercadante. Ma negli estremi istanti. Romance from the opera “Il Guiramento”
G. Donizetti. Spirto gentil. Recitative and aria of Fernando from the opera “La Favorita”
A. Thomas. Elle ne croyait pas. Romance of Wilhelm from the opera “Mignon”
G. Verdi. O inferno!.. Scene and Aria of Gabriele from the opera “Simon Boccanegra”
A. Ponchielli. Cielo! e mar! Romance of Enzo from the opera “La Gioconda”
G. Puccini. Ch’ella mi creda. Aria of Johnson from the opera “La fanciulla del West”. Verses by G. Civinini and C. Zangarini
P. Mascagni. Mamma... quel vino e generoso. Scene of Turiddu from the opera “Cavalleria Rusticana”
RUSSIAN ARIAS
M. Musorgsky. Зачем ты, сердце, рыдаешь и стонешь? Song of Gritsko from the opera “The Fair at Sorochyntsi”. Edited by P. Lamm
N. Rimsky-Korsakov. Где ты, сила моя молодецкая. Song of Vakula the smith from the opera “Night Before the Christmas”
M. Ippolitov-Ivanov. Ночь ароматная, сказка волшебная. Aria of Erekle from the opera “Betrayal”
A. Grechaninov. Расцветали в поле цветики. The Second Song of Alyosha from the opera “Dobrynya Nikitich”
R. Glier. Я поэт, певец вдохновенный. Aria of Garib from the opera “Shakh-Senem”
D. Frenkel. Не видать дороге края... Song of Farkov from the opera “The Ugryum River”
M. Vainberg. На тракту, эх, на Тюкалинском. Song of Pavel from the opera “Madonna and Soldier”
Supplement
Yuri Marusin. Opera and Concert Repertoire