26 - Italian Songs And Arias Better

Because these are Baroque songs, you are encouraged (and expected) to add ornamentation.

The number 26 is no accident. It offers:

The "26" is popular because it is the perfect bridge between simple exercises and difficult opera arias. 26 italian songs and arias

For vocalists and students, is often considered the definitive "voice teacher’s bible". Edited by John Glenn Paton and published by Alfred Music in 1991, this collection expanded upon the classic G. Schirmer Twenty-Four Italian Songs and Arias by adding two additional pieces and utilizing 15 years of scholarly research to restore authentic Baroque and Classical performance practices. Core Songs and Composers

The collection is the definitive modern expansion of the historic "24 Italian Songs and Arias" anthology. Edited by John Glenn Paton and published by Alfred Music in 1991, this edition is celebrated for its scholarly rigor and historical accuracy. 🎼 The Core Collection Because these are Baroque songs, you are encouraged

Because these songs are slow, students often sing them lazily. Even a sad song like Caro mio ben requires intense, focused energy. Think of the support mechanism as a slow, steady stream of water through a hose—it requires constant pressure.

| Composer (attrib.) | Title | Key Lesson | |--------------------|-------|-------------| | G. Giordani | Caro mio ben | Legato and sostenuto | | A. Scarlatti | Gia il sole dal Gange | Articulation of fast coloratura | | A. Scarlatti | Se Florindo è fedele | Gentle, lilting rhythm | | B. Marcello | Quella fiamma | Recitative-like expression | | G. Bononcini | Per la gloria d’adorarvi | Grace and messa di voce | | G.F. Handel | Caro mio ben (no – wait, that’s Giordani… Handel’s is Lascia ch’io pianga – but note: Handel appears in some editions with Ombra mai fù ) | Actually, Ombra mai fù (Handel) – sustained high line | | C. Monteverdi | Lasciatemi morire | Dramatic lament | | G. Caccini | Amarilli, mia bella | First true bel canto phrasing | | G. Carissimi | Vittoria, mio core! | Declamatory power | | F. Durante | Vergin, tutto amor | Sacred style & breath control | | G.B. Pergolesi | Se tu m’ami (if attributed) / Nina | Pathos & ornamentation | | A. Caldara | Alma del core | Lyrical warmth | | A. Caldara | Sebben, crudele | Stoic resilience in minor keys | | A. Vivaldi | Vedrò con mio diletto | Long, flowing phrases | | G. Paisiello | Nel cor più non mi sento | Light, bittersweet charm | | G. Sarti | Lungi dal caro bene | Elegance of line | | G.F. Handel | Lascia ch’io pianga (in some editions) | The ultimate slow aria | | N. Porpora | Alto giove | Noble, sustained arch | | A. Lotti | Pur dicesti, o bocca bella | Articulation & smile in the sound | | G. Legrenzi | Che fiero costume | Aggressive, pointed attack | | G.B. Pergolesi | Tre giorni son che Nina | Gentle grief | | F. Cavalli | Delizie contente | Joyful, flowing triple meter | | G. Torelli | Tu lo sai | Chromaticism & intensity | | G. Stradella | Pietà, Signore | Sacred plea, dramatic range | | A. Scarlatti | O cessate di piagarmi | Sigh motifs & rubato | | A. Scarlatti | Le violette | High, light, feminine charm | | (Varied) | Danza, danza, fanciulla gentile | Rhythmic energy & staccato | For vocalists and students, is often considered the

Would you like a printable checklist of all 26 songs with their vocal ranges and difficulty levels?

Many teachers now prefer the Alfred edition . It forces the student to make their own musical decisions rather than blindly following a 19th-century editor's ideas.

Even non‑classical artists borrow them: adapted “Lascia ch’io pianga” for a film soundtrack; Yo‑Yo Ma arranged “Caro mio ben” for cello.