Cracking the Count: preparing and developing Mozart’s great baritone roles
Peter Edge, baritone and Jong Sun Woo, piano
From page to stage, how does a singer prepare for a role?
A look at the job of learning a major baritone role from scratch - considering languages and translations, developing the character and working with a director to bring it to the stage. Focusing on Count Almaviva and Don Giovanni, Peter Edge talks us through each of the steps in working with the musical score and adapting the drama to different operatic settings.
With sung examples of some of Mozart’s finest arias for baritone including the Count’s aria, The Marriage of Figaro and Deh Vieni alla finestra, Don Giovanni.
Peter Edge, baritone and Jong Sun Woo, piano
From page to stage, how does a singer prepare for a role?
A look at the job of learning a major baritone role from scratch - considering languages and translations, developing the character and working with a director to bring it to the stage. Focusing on Count Almaviva and Don Giovanni, Peter Edge talks us through each of the steps in working with the musical score and adapting the drama to different operatic settings.
With sung examples of some of Mozart’s finest arias for baritone including the Count’s aria, The Marriage of Figaro and Deh Vieni alla finestra, Don Giovanni.
Peter Edge, baritone and Jong Sun Woo, piano
From page to stage, how does a singer prepare for a role?
A look at the job of learning a major baritone role from scratch - considering languages and translations, developing the character and working with a director to bring it to the stage. Focusing on Count Almaviva and Don Giovanni, Peter Edge talks us through each of the steps in working with the musical score and adapting the drama to different operatic settings.
With sung examples of some of Mozart’s finest arias for baritone including the Count’s aria, The Marriage of Figaro and Deh Vieni alla finestra, Don Giovanni.