Musical Theatre For Classical Singers Tenor
Musical Theatre For Classical Singers Tenor
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Musical Theatre For Classical Singers Tenor Book 📚
48 Theatre Classics - Tenor Edition
The "Musical Theatre For Classical Singers - Tenor Book" is a comprehensive collection tailored specifically for tenor vocalists who are looking to explore or deepen their repertoire in musical theatre. This edition includes 48 classic songs from a variety of well-known musicals, carefully selected to suit the unique qualities and range of the tenor voice.
Spanning 272 pages, this anthology offers a broad spectrum of musical theatre pieces, ranging from classic to contemporary shows. Each selection is presented with musical notation and includes piano accompaniments, making it suitable for practice, auditions, performances, or simply for personal enjoyment.
The book is designed to help classical singers transition into musical theatre or enhance their existing skills in this genre. The arrangements are likely crafted to respect the vocal nuances required by tenor singers while challenging them to harness their technical skills and expressive capabilities in the context of musical theatre.
This collection serves as an essential resource for tenors seeking to explore a diverse array of musical theatre songs, enrich their performances, and expand their artistic horizons in the world of theatre music.
Song Titles Include:
- Beautiful Girls (from FOLLIES)
- Boy For Sale (from the Columbia Pictures - Romulus Film OLIVER!)
- The Breeze Kissed Your Hair
- Bring Him Home (from LES MISERABLES)
- Come With Me (from THE BOYS FROM SYRACUSE)
- The Contest (from SWEENEY TODD)
- Fanny (from FANNY)
- Finishing The Hat (from SUNDAY IN THE PARK WITH GEORGE)
- Geraniums In The Winder (from CAROUSEL)
- Giants In The Sky (from INTO THE WOODS)
- I Am Aldolpho (from THE DROWSY CHAPERONE)
- I Will Follow You (from MILK AND HONEY)
- Il Mondo Era Vuoto (from THE LIGHT IN THE PIAZZA)
- Johanna (from SWEENEY TODD)
- Ladies In Their Sensitivities (from SWEENEY TODD)
- Later (from A LITTLE NIGHT MUSIC)
- Lonely House (from the Musical Production STREET SCENE)
- Love To Me (from THE LIGHT IN THE PIAZZA)
- A Man Could Go Quite Mad (from THE MYSTERY OF EDWIN DROOD)
- Many Moons Ago (from ONCE UPON A MATTRESS)
- Maria (from WEST SIDE STORY)
- The Music Of The Night (from THE PHANTOM OF THE OPERA)
- A New Love Is Old (from THE CAT AND THE FIDDLE)
- Night Of My Nights (from KISMET)
- No Moon (from TITANIC)
- Not While I'm Around (from SWEENEY TODD)
- On The Street Where You Live (from MY FAIR LADY)
- The Only Home I Know (from SHENANDOAH)
- Passeggiata (from THE LIGHT IN THE PIAZZA)
- The Proposal (from TITANIC)
- She Wasn't You (from ON A CLEAR DAY YOU CAN SEE FOREVER)
- Someone Is Waiting (from COMPANY)
- Something's Coming (from WEST SIDE STORY)
- Springtime For Hitler (from THE PRODUCERS)
- Stay (from DO I HEAR A WALTZ?)
- Stranger In Paradise (from KISMET)
- Take The Moment (from DO I HEAR A WALTZ?)
- The Thought Of You (from FANNY)
- Tonight At Eight (from SHE LOVES ME)
- Tschaikowsky (And Other Russians) (from the Musical Production LADY IN THE DARK)
- The Wild Justice (from the Musical Production LOST IN THE STARS)
- Wish You Were Here (from WISH YOU WERE HERE)
- You Are Beautiful (from FLOWER DRUM SONG)
- You Are Never Away (from ALLEGRO)
- You Walk With Me (from THE FULL MONTY)
- You're Devastating
- You've Got To Be Carefully Taught (from SOUTH PACIFIC)
- Younger Than Springtime (from SOUTH PACIFIC)
Review:
“At last we have four good volumes of real singing songs from mostly pre-1970 music theatre productions suitable for classically trained singers...The editor's excellent Preface addresses the need for classical singers to be at home with music theatre, gives notes on the compilation itself, on common pitfalls for classical singers choosing a song, on the necessity for non-operatic, standard American diction, and on the benefits that singing music that demands direct emotional and character expression might have on the singer's operatic expression. His advice is clear and well founded...These four volumes should be standard items in all voice studios and private song collections.”--Journal of Singing
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