Customer Reviews

Guide to the Aria Repertoire (Indiana Repertoire Guides)

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I was very disappointed with this book, one of the reasons being what another reviewer pointed out, which is that there is absolutely NO discussion of the fach system in the book, which may render the book useless to some. I also noticed a mistake when doing research in the book- the aria summary for "Signore, Ascolta" and "Tu che di gel sei cinta" are reversed (in other words, the "Signore, ascolta" description describes how Lia has decided to take her life, and vice versa for "Tu che..."). I am not sure how many other mistakes are in this book like this. Also, it says on the back cover that there is a description of the difficulty level of the arias, but this is untrue for most of the arias listed. Also, I do not agree with the fach choices for each aria. For example, it claims that Dido from Dido and Aeneas is a dramatic mezzo part. This is not completely accurate, as the role is usually sung by a lyric mezzo. It lists Santuzza as a dramatic soprano when it is actually a dramatic soprano role, although many mezzos sing it also. There are many other examples of this that I won't list. Also, the list of arias isn't extensive... it is missing many arias that are commonly done. I agree that the Aria Database online is more helpful... just do a search for "Aria Database." It's free, and the information is more correct, and it's free.

I was completely dissappointed with this book. Very limited information. Supposedly there is "an extensive discussion of fach" which is false. There is no discussion whatsoever. Waste of money in my opinion. Aria database online is more useful.

This book contains only the most basic operatic repertoire. As a reference book, it really does nothing to delve into the more obscure literature. This book is a glorified table of contents for the G. Schirmer Arias series.
Furthermore, the recommendations made by some of the singers or professors consulted in the writing of this book as well as some of the vocal classifications of the arias are severely flawed.
There are some insightful comments made by singers such as Carol Vaness, among others.
I was hoping that this would be a really definitive reference book for the operatic repertory: I was very disappointed.