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Concert aria
The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
Rehearing Beethoven Festival Program, Complete, November-December 2020
Lunchtime Concert in Europe, Scandinavia, China, the U.S
2011 Next Wave Festival NOV 2011
Adaptation of Handel's Castrato Airs for Bass: a Lecture Recital, Together with Three Recitals of Selected Works of J
Dennis Brain Discography
Ornamentation in Mozart's Concert Arias for Aloysia Weber: the Traditions of Singing and Embellishment
Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990
Fryderyk Chopin's Music on Double Bass
A Study of the Concert Arias for Bass by Wolfgang Amadeus Mozart Jerry Wayne Thompson Ouachita Baptist University
Mozarthaus Vienna Special Exhibition
Mozart's "Mezzos": a Comparative Study Between Castrato and Female Roles in Mozart's Operas
Cecilia Bartoli & Sol Gabetta
Migrating Mozart, Or Life As a Substitute Aria in the Eighteenth Century
School of Music
The Infernal Comedy: Confessions of a Serial Killer
Overture to Fidelio, Op
Extended Program Notes for Thesis Voice Recital Shanna Nolan Florida International University,
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Concerning the Performance of Mozart's Concert Arias K. 294 and K
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Ch'io Mi Scordi Di Te? . . . Non Temer, Amato Bene, K
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Program Notes © 2020
A Programme of Mozart Concert Arias
Rehearing Beethoven Festival
Gluck and the Map of Eighteenth-Century Europe Conference Program
Gluck “Resta, O Cara” from Il Trionfo Di Clelia
Research of the Most Well-Known Tenor Roles in Mozart's Operas
THE UNIVERSITY SYMPHONY Peter Erös, Conductor
An Analysis of the Concert Arias for Soprano Voice
New York Philharmonic Orchestra » : Concerts Including Music of Anton Bruckner (1885-2016)
Don Mozart in London
WOLFGANG AMADEUS MOZART Works for the Stage
AYRES, MICHELLE ELIZABETH, D.M.A. Crossover Genres, Syncretic Form: Understanding Mozart's Concert Aria “Ch'io Mi Scordi D
827949088568.Pdf
Juilliard Orchestra Speranza Scappucci , Conductor Felicia Moore , Soprano