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Rating: 
Summary: Classic Beginner Repertoire...
Review: Affectionately known as "Old Yeller" (so-called because of the yellow Schirmer cover), the Schirmer edition of these songs has been a staple at voice studios in the United States and the U.K. Similar editions of this repertoire have appeared by various companies, though this one continues to be the best seller. The reason for this is simple - these songs are immediately accessable to the beginning student, not only for their beauty, but the simple and modern arrangements. There is something for every aspect of technique in this book. One can spend many years, in fact, just digesting and singing from this book alone. They range from moderate in difficulty, to difficult, to quite advanced. I would advise the beginner to start with a less advanced piece, such as "Nel Cor piu non mi sento" or "Sebben Crudele", then build the voice with something like "Per la gloria", "Caro mio ben", and "Gia il sole", and them attempt the harder works like "O del mio dolce ardor" and "Il mio bel foco (Quella fiamma)." One sees beginning students dismiss all the pieces as "beginner repertoire" and go straight to the harder ones first. Unless a singer can hit all notes with proper technique, has near perfect pronunciation, and has emoting the meaning of the song down to an art (and truly, this is an art) he or she should not even attempt to approach the more difficult pieces. So often are these pieces performed badly and too early in a singer's progress. Contrary to popular opinion, the original versions of many of these songs (including some of the Scarlatti works) have been lost or cannot be duplicated faithfully with a piano. Granted, the Paton edition contains more songs, additional lyrics to several songs, and more accurate translations, but try getting a timid voice student enthusiastic about singing what sounds like a Bach cantata on a respirator? I find the arrangements on that compilation a poor attempt to make the Baroque melodies sounds more "authentic" by affixing cliché chords of the era and bizzarre ornamentation. The result: a bland and often overbearing arrangement. (I use that edition solely as a reference book, for which it is excellent - not for performing.) The arrangements on this version take the melodies and let them sit organically with the arrangement - ornamentation is left for the singer to execute (where it should be), and the result is indeed inviting. We currently have a few recording of different voice types singing these works. Cecilia Bartoli (either a soprano or mezzo-soprano depending on the day and who you ask) recorded a selection of these pieces and other melodies of the period for EMI a decade ago called "Se Tu M'ami". That recording used these arrangements, and I highly recomend it as an example of what these pieces can truly be. She plays with the works, making them sound fresh and poignant: a good study for those using this book. Equally satisfying is "Aria Antiche" by the great Verdi baritone Renato Bruson, though not for his interpretation. It's the voice itself that excites on that recording. A welcome example of what these songs can do for a student. The tenor Richard Tucker, on his "Taste of Italy", includes many of these pieces, though I feel they deserve a more intimate approach (almost akin to the German lieder) than Tucker affords. Bartoli gets it just right in this respect. All of these recordings are available through Amazon. A few more notes: all of these songs may be performed by a male or female singer without alterations to the lyrics. Some people have tried to differentiate which are the "male songs" and which are the "female songs." The only factor in this is what sounds best. "Per la goria", though written for a female character, I prefer for males. "Se tu m'ami" I prefer for females. Both these songs could go either way, however. A second note, if you can play piano and have access to one during practice, I would suggest you stay away from the accompaniment CD. The tempi are almost always much too fast (I would break out in uncontrolable laughter listening to someone attempt to keep up with the piano during "O cessate di piagarmi"), and the dynamics are non existent. I highly reccomend both this edition, for singing from, and the Paton edition, for reference. Pick either the medium high or medium low version (low if you can hit up to an E above middle-C; high if you can go as as far as the A above middle-C), and be happy with the feeling that you made a good investment for you vocal future.
Rating:
Summary: Classic Beginner Repertoire...
Review: Affectionately known as "Old Yeller" (so-called because of the yellow Schirmer cover), the Schirmer edition of these songs has been a staple at voice studios in the United States and the U.K. Similar editions of this repertoire have appeared by various companies, though this one continues to be the best seller. The reason for this is simple - these songs are immediately accessable to the beginning student, not only for their beauty, but the simple and modern arrangements. There is something for every aspect of technique in this book. One can spend many years, in fact, just digesting and singing from this book alone. They range from moderate in difficulty, to difficult, to quite advanced. I would advise the beginner to start with a less advanced piece, such as "Nel Cor piu non mi sento" or "Sebben Crudele", then build the voice with something like "Per la gloria", "Caro mio ben", and "Gia il sole", and them attempt the harder works like "O del mio dolce ardor" and "Il mio bel foco (Quella fiamma)." One sees beginning students dismiss all the pieces as "beginner repertoire" and go straight to the harder ones first. Unless a singer can hit all notes with proper technique, has near perfect pronunciation, and has emoting the meaning of the song down to an art (and truly, this is an art) he or she should not even attempt to approach the more difficult pieces. So often are these pieces performed badly and too early in a singer's progress. Contrary to popular opinion, the original versions of many of these songs (including some of the Scarlatti works) have been lost or cannot be duplicated faithfully with a piano. Granted, the Paton edition contains more songs, additional lyrics to several songs, and more accurate translations, but try getting a timid voice student enthusiastic about singing what sounds like a Bach cantata on a respirator? I find the arrangements on that compilation a poor attempt to make the Baroque melodies sounds more "authentic" by affixing cliché chords of the era and bizzarre ornamentation. The result: a bland and often overbearing arrangement. (I use that edition solely as a reference book, for which it is excellent - not for performing.) The arrangements on this version take the melodies and let them sit organically with the arrangement - ornamentation is left for the singer to execute (where it should be), and the result is indeed inviting. We currently have a few recording of different voice types singing these works. Cecilia Bartoli (either a soprano or mezzo-soprano depending on the day and who you ask) recorded a selection of these pieces and other melodies of the period for EMI a decade ago called "Se Tu M'ami". That recording used these arrangements, and I highly recomend it as an example of what these pieces can truly be. She plays with the works, making them sound fresh and poignant: a good study for those using this book. Equally satisfying is "Aria Antiche" by the great Verdi baritone Renato Bruson, though not for his interpretation. It's the voice itself that excites on that recording. A welcome example of what these songs can do for a student. The tenor Richard Tucker, on his "Taste of Italy", includes many of these pieces, though I feel they deserve a more intimate approach (almost akin to the German lieder) than Tucker affords. Bartoli gets it just right in this respect. All of these recordings are available through Amazon. A few more notes: all of these songs may be performed by a male or female singer without alterations to the lyrics. Some people have tried to differentiate which are the "male songs" and which are the "female songs." The only factor in this is what sounds best. "Per la goria", though written for a female character, I prefer for males. "Se tu m'ami" I prefer for females. Both these songs could go either way, however. A second note, if you can play piano and have access to one during practice, I would suggest you stay away from the accompaniment CD. The tempi are almost always much too fast (I would break out in uncontrolable laughter listening to someone attempt to keep up with the piano during "O cessate di piagarmi"), and the dynamics are non existent. I highly reccomend both this edition, for singing from, and the Paton edition, for reference. Pick either the medium high or medium low version (low if you can hit up to an E above middle-C; high if you can go as as far as the A above middle-C), and be happy with the feeling that you made a good investment for you vocal future.
Rating:
Summary: 5 Starts But With a Qualification
Review: I own both this 26 song book/Cd as well as the 24 song book/CD from John Keene and Schirmer. I use the John Paton 26 song version in order to read the excellent one page introductions it provides for each song.. However my singing teacher feels that the piano accompaniments in the Paton book are pretentious, and he prefers the piano accompaniments in the Keene/Schirmer book. So, I use the CD and music from the Schirmer book but I do my research via the Paton book. The Keen/Schirmer book has a lot less melody ornamentation than the John Paton book. In my opinion, which is the opinion of a beginner, the ornamentation added to the melody in the John Paton book is excessive and is also confusing in that he never explains how to reconcile all the little notes he added, to the larger font melody notes that often seem to be at odds with the tinier notes. What is deeply, desperately need, I strongly feel, is a recording of tenors, sopranos, and baritones actually singing all 24 (or 26) of these songs! Please, if anyone knows of the existance of such as recording, post it in a user review. It would be a tremendous help. Also, note that in both the Keene/Schirmer version and the John Paton version, the piano accompaniment often does not include the melody. So, it can be "dicey" when trying to learn one of the songs to figure out the melody if the only resource available is the accompanying CD. Personally, I record the melodies into a sequencer program on my PC via a midi attached digital keyboard, but the average singer is not likely to have the technical expertise to do that. It would have been very helpful if the accompanying CD's had recorded each song twice, the second time with the melody superimposed on top of the accompaniment. My singer teacher tells me that these 24 (or 26) songs are the "bible" among singing students. Thus, a singing student really has no choice but to buy at least one of these two editions.
Rating:
Summary: 5 Starts But With a Qualification
Review: I own both this 26 song book/Cd as well as the 24 song book/CD from John Keene and Schirmer. I use the John Paton 26 song version in order to read the excellent one page introductions it provides for each song.. However my singing teacher feels that the piano accompaniments in the Paton book are pretentious, and he prefers the piano accompaniments in the Keene/Schirmer book. So, I use the CD and music from the Schirmer book but I do my research via the Paton book. The Keen/Schirmer book has a lot less melody ornamentation than the John Paton book. In my opinion, which is the opinion of a beginner, the ornamentation added to the melody in the John Paton book is excessive and is also confusing in that he never explains how to reconcile all the little notes he added, to the larger font melody notes that often seem to be at odds with the tinier notes. What is deeply, desperately need, I strongly feel, is a recording of tenors, sopranos, and baritones actually singing all 24 (or 26) of these songs! Please, if anyone knows of the existance of such as recording, post it in a user review. It would be a tremendous help. Also, note that in both the Keene/Schirmer version and the John Paton version, the piano accompaniment often does not include the melody. So, it can be "dicey" when trying to learn one of the songs to figure out the melody if the only resource available is the accompanying CD. Personally, I record the melodies into a sequencer program on my PC via a midi attached digital keyboard, but the average singer is not likely to have the technical expertise to do that. It would have been very helpful if the accompanying CD's had recorded each song twice, the second time with the melody superimposed on top of the accompaniment. My singer teacher tells me that these 24 (or 26) songs are the "bible" among singing students. Thus, a singing student really has no choice but to buy at least one of these two editions.
Rating: 
Summary: An absolute essential for the serious voice student
Review: My voice teacher insisted I purchase this book and I am glad I did. We use it each week for development work, vocalizing, and learning new pieces. These songs are incredibly useful for working out the kinks you may have with other pieces, as well as just being a pleasure to sing for their natural beauty. I have a second copy of the book with the CD; I agree with the other reviewers that the CD accompaniment is way too fast. I have Cecilia Bartoli's CD, referenced by another reviewer, also and I have used it to help learn or refine some of these songs. Even so, the accompaniment CD has been useful for me in practice since I can't accompany myself. If you have a choice, I would get the version with the accompaniment CD. If you don't like the CD, you're not out more than a couple of extra dollars over what you pay for just the book.
Rating: 
Summary: Don't do it!
Review: Please don't buy this book. The editions are awful and completely out of date. I'm a full-time teacher of singing & I cringe when singers bring this in. Try "28 Italian Songs" edited by John Glen Paton. It has the same songs, but the editions are much better! Good luck.
Rating:
Summary: Don't do it!
Review: Please don't buy this book. The editions are awful and completely out of date. I'm a full-time teacher of singing & I cringe when singers bring this in. Try "28 Italian Songs" edited by John Glen Paton. It has the same songs, but the editions are much better! Good luck.
Rating:
Summary: Excellent repertoire for all singers
Review: This is a must buy for all singers. The pieces are all reknown and tt is always good to perform pieces in which your audience can be familiar with. Also, these pieces are performed so frequently that people hear them done poorly at times and it is your chance to do it well and make an excellent impression on your audience. There are songs for everyone in this book. This kind of Baroque music has its own unique ability to engage and gtouch the hearts in the audience.
Rating:
Summary: Very good for vocal studies
Review: This is the quintessencial collection for vocal studies for the medium high voice. A real tradition.
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