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Guiseppe Giordani

Giuseppe Tommaso Giovanni Giordani (December 19, 1751, Naples – January 4, 1798) was an Italian composer best known for his operas, oratorios, and sacred music.


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Giodani Backing Tracks – Caro Mio Ben


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Vaccai Vocal Exercises

Grand PianioVaccai

Vocal Exercises – Vocalises

Vaccai Practical Method of Italian Singing.

The Vaccai Practical Method of Italian Singing has long been an indispensable introduction to classical singing and singing in Italian.  Rather than using scales and exercises, Vaccai uses a series of short songs each highlighting a particular skill and aspect of classical singing.

This compilation of 15 singing lessons date back to the early 19th Century when it was popular to vocalise along with piano accompaniment.  These video exercises have been re-created with both English and Italian lyrics and available in keys suitable for High, Middle and Low voice ranges.  These singing exercises are still used today in training the singing voice.


Lesson No 1 – The Diatonic Scale



Lesson 1 (part ii) Intervals Of The Third


Lesson 2 II – Intervals Of The Fourth




Lesson 2 II (part ii) – Intervals Of The fifth




Lesson 3 III – Intervals Of The Sixth



Lesson 4 IV – Intervals Of The Seventh



Lesson 4 IV (part ii) – Intervals Of The Octave




Lesson 5 V  – Half tones or Semitones



Lesson 6 VI – Syncopation




Lesson 7 VII – Runs and Scale Passages




Lesson 8 VIII – The Appoggiatura taken from above or below


Lesson 8 VIII (Part ii) – The Acciaccatura


Lesson 9 IX –  The Mordent

Lesson 9 IX (Part ii) Different Ways Of Executing The Mordent


Lesson 10 X – Introductory To The Gruppetto Or Turn


Lesson 10 X (Part ii) The Gruppetto


Lesson 11 XI – Introduction Of The Trill Or Shake


Lesson 12 XII – Runs And Scale Passages




Lesson 13 XIII – The Portamento


Lesson 13 XIII part (ii) – Allegretto






What about lesson 14?

Lesson XV (Lesson 15 – track 21)



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About Nicola Vaccai

VACCAI was born on March the 15th, 1790, at Tolentino, near Ancona, Italy, but the family soon moved to Pesaro, where they remained about twelve years. This is where Niccolò received his first instruction in music.  He was then brought to Rome for the purpose of studying law for around five years; then, renouncing this profession as distasteful.  He then devoted himself entirely to music, taking lessons in counterpoint under Jannaconi, and later { 1812) studying the art of opera composition under the guidance of Paisiello, at Naples. While in Naples he wrote two cantatas and other church-music; in 1814 his first opera, I solitari di Scozia, was brought out at the Teatro nuovoin that city.  Shortly after, he returned to Venice, where he stayed seven years, writing an opera , and also several ballets; yet none of these ventures succeeded in winning for their author even the evanescent vogue of an Italian opera-composer; he consequently gave over dramatic composition in 1820 and turned his attention to instruction in singing, a vocation in which he was eminently successful in Venice, Trieste and Vienna.

Again devoting his energies to composition, he wrote operas for several leading Italian theatres,  still without success; but few of his dramatic works became known abroad, among them being La Pastorella, Timur Chan, Pietro il Gran, and Giulietta e Romeo.  The last-named opera is considered his best, and its third act, especially, was so much liked that it has frequently been substituted for the same act of Bellini’s opera of like name, not only in Italian theatres, but even in Paris and London.  To the former city Vaccai journeyed in 1829, visiting London a few years later, and in both attained to great and deserved popularity as a singing-teacher.  Again returning to Italy, he recommenced writing operas, one of this period beingGiovanna Grey, written for Malibran, in honor of whom he composed, after her decease, in co-operation with Donizetti. Mercadante and others, a funeral cantata.  Most of these operas also met with hardly more than a bare succés d’estime.  In 1838, however, he was appointed to succeed Basili as head-master and instructor of composition at the Milan Conservatory, which position he held until 1841 when he retired to Pesaro.  Here his last opera, Virginia, was written for the Teatro Argentino at Rome.  He died at Pesaro August 5, 1848.

Besides sixteen operas, he composed a number of cantatas, church-music of various descriptions, arias, duets and romances.  Although unable to secure a niche among Italy’s favorite dramatic composers, Vaccai’s lasting renown as a singing-master shows that he was possessed of solid, if not brilliant, artistic attainments.  His famous “Metodo pratico di canto italiano per camera” [London, 1832] is still a standard work in great request, and his “Dodici ariette per camera per l’insegnamento del belcanto italiano” are scarcely less popular.

The general plan of the “Practical Method” is to render study easy and attractive, without omitting essentials.  No exercise exceeds the limit of an octave and a fourth (c’-f’’, transposable to suit any voice).  There are fifteen “Lessons,” which are not bare solfeggio on single vowels or syllables, but melodious exercises-for scale-practice, for skips of thirds. fourths, etc., up to octaves; on semitones, runs, syncopations, and all graces usually met with-written to smooth Italian verses.
The extraordinary and undiminished popularity of this method is attested by the numerous editions through which it has run; yet it is not merely the method for dilettanti, but can be used profitably in conjunction with any other system of voice-cultivation, being admirably calculated for strengthening and equalizing the medium register, for giving confidence in taking difficult intervals, and for enforcing habits of precise and distinct articulation and phrasing.

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Luciano Pavarotti

Luciano Pavarotti was an Italian Operatic singer with a tenor voice. He also crossed over into the pop genre and became one of the most commercially successful tenors of all time. In the 1990’s Luciano Pavarotti teamed up with Placido Domingo and Jose Carreras to form The Three Tenors and they successfully toured the world, selling out vast staduims.

In 1998 he was presented with the Grammy Legend Award.


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Backing Tracks

Amor Ti VietaBuongiorno A TeCarusoIf We Were In LoveIl Canto Largo Al FactotumMama Non Ti Scordar Di MeO Sole MioRondine Al Nido Torna A SurrientoUn Amore Cosi Grande




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Leo Delibes

Leo Delibes (21 February 1836 – 16 January 1891) was was a French composer of the Romantic era (1815–1910), who specialised in ballets, operas, and other works for the stage. His most notable works include the ballets Coppélia (1870) and Sylvia (1876), as well as the operas Le roi l’a dit (1873) and Lakmé (1883).

Delibes studied at the Paris Conservatoire and in 1853 became accompanist at the Théâtre-Lyrique. His first produced works were a series of operettas, parodies and farces. He also wrote some church music.


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Delibes Backing Tracks -Flower Duet – Lakme …   Pearl Fishers Duet



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Christoph Gluck

Christoph Gluck (born 2 July – 15 November 1787) was a composer of Italian and French opera who gained prominence at the Habsburg court at Vienna.

The strong influence of French opera encouraged Gluck to move to Paris in November 1773 where he blended the traditions of Italian opera and the French. Gluck wrote eight operas for the Parisian stage. Iphigénie en Tauride was a great success and is generally acknowledged to be his finest work. Though he was extremely popular and widely credited with bringing about a revolution in French opera he became disillusioned with life in France and returned to Vienna to live.

Backing Tracks

[wp_eStore_fancy9 id=5654] Che Faro Senza Euridice – Christoph Gluck

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Donizetti. Domenico Gaetano Maria Donizetti (29 November 1797 – 8 April 1848) was an Italian composer. Among others,  Donizetti was a leading composer of the bel canto opera style during the first half of the nineteenth century. He did not come from a musical background, but at an early age he was taken under the wing of composer Simon Mayr who had enrolled him with a full scholarship in a school which he had set up.


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Donizetti Backing Tracks -A Mezzanotte … Il Dolce Suono … Pour Mon Ame … Quanto E Bella … Regnava Nel Silencio … Tombe Degli Avi Miei … Una Furtiva Lagrima …


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Beethoven. Lugwig Van Beethoven. A German composer active in the 18th Century and considered one of the most influential composers of his time.


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Mozart: Abendemfindung… An Chloe… Fin In Ch’han Dal Vino… Hostias… Or Sai Chi L’Enore… Parto Parto… Smanie Implacabili… Voi Che Sapete…

Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), was a prolific and influential composer of the Classical era. Born in Salzburg, he was competent on keyboard and violin from a very early age and composed from the age of five.

He composed more than 600 works of symphonic, chamber, operatic, and choral music and is one of the most popular classical composers.

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Mozart Backing Tracks –





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Richard Wagner

Richard Wagner (22 May 1813 – 13 February 1883) was a German composer, theatre director and conductor , but was primarily known for his operas. Unlike most opera composers, Wagner wrote both the text and the music for each of his works.

Initially, Wagner established his reputation as a composer of works in the romantic vein of Weber and Meyerbeer, but his ideal was to unify all works of art via the theatre.  In his book “Opera and Drama” (completed in 1851), he describes in detail his idea of the union of opera and drama.

Wagner’s compositions, especially those in later years, are notable for their complex textures, rich harmonies and orchestration, and the elaborate use of  ‘ leitmotifs’: musical phrases associated with individual characters, places, ideas or plot elements. His advances in musical language, such as his use of new combinations of chords, keys and harmonies, greatly influenced the development of classical music. His “Tristan und Isolde” is sometimes described as marking the start of modern music.


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Wagner Backing Tracks

Abedlich Strahlt Der Somme – Das Rheingold …  Allmacht’ge Jungfrau – Tannhauser …  Als Du Kuhnem Sange – Tannhauser …  Atmest Du Nicht – Lohengrin …  Bridal Chorus – Lohengrin …  In Fernem Land – Lohengrin …  Milde Und Leise – Tristan und Isolde …  O Du Mein Holder Abendstern – Tannhauser …  Pilgrim’s March – Tannhauser …  Siegmund’s Love Song – The Valkeries …


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Pirates Of Penzance The Musical

The Pirates of Penzance is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert. Pirates was the fifth Gilbert and Sullivan collaboration and introduced the much-parodied “Major-General’s Song”. Pirates remains popular today, taking its place along with The Mikado and H.M.S. Pinafore as one of the most frequently played Gilbert and Sullivan operas.


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Act I

On the coast of Cornwall, at the time of Queen Victoria’s reign, Frederic celebrates the completion of his twenty-first year and the end of his apprenticeship to a gentlemanly band of pirates (“Pour, oh pour the pirate sherry”). The pirates’ maid of all work, Ruth, appears and reveals that, as Frederic’s nursemaid long ago, she made a mistake “through being hard of hearing”: Mishearing Frederic’s father’s instructions, she apprenticed him to a pirate, instead of to a ship’s pilot (“When Frederic was a little lad”).

Frederic has never seen any woman other than Ruth, and he believes her to be beautiful. The pirates know better and suggest that Frederic take Ruth with him when he returns to civilisation. Frederic announces that, although it pains him, so strong is his sense of duty that, once free from his apprenticeship, he will be forced to devote himself to the pirates’ extermination. He also points out that they are not successful pirates: since they are all orphans, they allow their prey to go free if they too are orphans. Frederic notes that word of this has got about, so captured ships’ companies routinely claim to be orphans. Frederic invites the pirates to give up piracy and go with him, so that he need not destroy them, but the Pirate King says that, compared with respectability, piracy is comparatively honest (“Oh! better far to live and die”). The pirates depart, leaving Frederic and Ruth. Frederic sees a group of beautiful young girls approaching the pirate lair, and realises that Ruth misled him about her appearance (“Oh false one! You have deceived me!”). Sending Ruth away, Frederic hides before the girls arrive.

The girls burst exuberantly upon the secluded spot (“Climbing over rocky mountain”). Frederic reveals himself (“Stop, ladies, pray!”), startling them. He appeals to them to help him reform (“Oh! is there not one maiden breast?”). The girls are fascinated by him, but all reject him, except one: Mabel, responds to his plea, chiding her sisters for their lack of charity (“Oh sisters deaf to pity’s name for shame!”). She offers Frederic her pity (“Poor wand’ring one”), and the two quickly fall in love. The other girls discuss whether to eavesdrop or to leave the new couple alone (“What ought we to do?”), deciding to “talk about the weather,” although they steal glances at the affectionate couple (“How beautifully blue the sky”).

Frederic warns the young ladies that his old associates will soon return (“Stay, we must not lose our senses”), but before they can flee, the pirates arrive and capture the girls, intending to marry them (“Here’s a first rate opportunity”). Mabel warns the pirates that the girls’ father is a Major-General (“Hold, monsters!”), who soon arrives and introduces himself (“I am the very model of a modern Major-General”). He appeals to the pirates not to take his daughters, leaving him to face his old age alone. Having heard of the famous Pirates of Penzance, he pretends that he is an orphan to elicit their sympathy (“Oh, men of dark and dismal fate”). The soft-hearted pirates release the girls (“Hail, Poetry!”), making Major-General Stanley and his daughters honorary members of their band (“Pray observe the magnanimity”).

Act II

The Major-General sits in a ruined chapel on his estate, surrounded by his daughters. His conscience is tortured by the lie that he told the pirates, and the girls attempt to console him (“Oh dry the glist’ning tear”). The Sergeant of Police and his corps arrive to announce their readiness to arrest the pirates (“When the foeman bares his steel”). The girls loudly express their admiration of the police for facing likely slaughter at the hands of fierce and merciless foes. The police are unnerved by this but finally leave.

Left alone, Frederic, who is to lead the police, reflects on his opportunity to atone for a life of piracy (“Now for the pirate’s lair”), at which point he encounters Ruth and the Pirate King. They have realised that Frederic’s apprenticeship was worded so as to bind him to them until his twenty-first birthday – and, because that birthday happens to be on the 29th of February (in a leap year), it means that technically only five birthdays have passed (“When you had left our pirate fold”), and he will not reach his twenty-first birthday until he is in his eighties. Frederic is convinced by this logic and agrees to rejoin the pirates. He then sees it as his duty to inform the Pirate King of the Major-General’s deception. The outraged outlaw declares that the pirates’ “revenge will be swift and terrible” (“Away, away, my heart’s on fire”).

Frederic meets Mabel (“All is prepared”), and she pleads with him to stay (“Stay Frederic, stay”), but he feels bound by his duty to the pirates until his 21st birthday – in 1940. They agree to be faithful to each other until then, though to Mabel “It seems so long” (“Oh here is love and here is truth”); Frederic departs. Mabel steels herself (“No, I’ll be brave”) and tells the police that they must go alone to face the pirates. They muse that an outlaw might be just like any other man, and it is a shame to deprive him of “that liberty which is so dear to all” (“When a felon’s not engaged in his employment”). The police hide on hearing the approach of the pirates (“A rollicking band of pirates we”), who have stolen onto the estate, intending to avenge themselves for the Major-General’s lie (“With cat-like tread”).

Just then, Major-General Stanley appears, sleepless with guilt, and the pirates also hide (“Hush, hush! not a word”), while the Major-General listens to the soothing breeze (“Sighing softly to the river”). The girls come looking for him (“Now what is this and what is that”). The pirates leap to the attack, and the police rush to the defence; but the police are easily defeated, and the Pirate King urges the captured Major-General to prepare for death. The Sergeant has one stratagem left: he demands that the pirates yield “in Queen Victoria’s name”; the pirates, overcome with loyalty to their Queen, do so. Ruth appears and reveals that the pirates are “all noblemen who have gone wrong”. The Major-General is impressed by this and all is forgiven. Frederic and Mabel are reunited, and the Major-General is happy to marry his daughters to the noble pirates after all.


  • Overture (includes “With cat-like tread”, “Ah, leave me not to pine”, “Pray observe the magnanimity”, “When you had left our pirate fold”, “Climbing over rocky mountain”, and “How beautifully blue the sky”)

Act One

  • “Pour, oh pour, the pirate sherry” (Samuel and Pirates)
  • “When Fred’ric was a little lad” (Ruth)
  • “Oh, better far to live and die …I am a pirate king!” (Pirate King and Pirates)
  • “Oh! false one, you have deceiv’d me” (Frederic and Ruth)
  • “Climbing over rocky mountain” (Edith, Kate, and Daughters)
  • “Stop, ladies, pray” (Edith, Kate, Frederic, and Daughters)
  • “Oh, is there not one maiden breast?” (Frederic and Daughters)
  • “Poor wand’ring one” (Mabel and Daughters)
  • “What ought we to do?” (Edith, Kate, and Daughters)
  • “How beautifully blue the sky” (Mabel, Frederic, and Daughters)
  • “Stay, we must not lose our senses” … “Here’s a first-rate opportunity to get married with impunity” (Frederic, Pirates, and Daughters)
  • “Hold, monsters” (Mabel, Major-General, Samuel, Pirates and Daughters)
  • “I am the very model of a modern Major-General” (Major-General, Pirates, and Daughters)
  • Finale Act I (Mabel, Kate, Edith, Ruth, Frederic, Samuel, King, Major-General, Pirates, and Daughters)
    “Oh, men of dark and dismal fate”, “I’m telling a terrible story”, “Hail, Poetry”, “Oh, happy day, with joyous glee”, “Pray observe the magnanimity”

Act Two

  • “Oh, dry the glist’ning tear” (Mabel and Daughters)
  • “Then, Frederic, let your escort lion-hearted” (Frederic and Major-General)
  • “When the foeman bares his steel” (Mabel, Edith, Sergeant, Policemen, and Daughters)
  • “Now for the pirates’ lair!” (Frederic, Ruth, and King)
  • “When you had left our pirate fold” (“A paradox”) (Ruth, Frederic, and King)
  • “Away, away! My heart’s on fire!” (Ruth, Frederic, and King)
  • “All is prepar’d; your gallant crew await you” (Mabel and Frederic)
  • “Stay, Fred’ric, stay” … “Oh, here is love, and here is truth” (Mabel and Frederic)
  • “No, I’ll be brave” … “Though in body and in mind” (Reprise of “When the foeman bares his steel”) (Mabel, Sergeant, and Policemen)
  • “When a felon’s not engaged in his employment” (Sergeant and Policemen)
  • “A rollicking band of pirates we” (Sergeant, Pirates, and Policemen)
  • “With cat-like tread, upon our prey we steal” (Samuel, Pirates, and Policemen)
  • “Hush, hush, not a word!” (Frederic, King, Major-General, Pirates, and Policemen)
  • Finale, Act II (Ensemble)
    “Sighing softly to the river”,”Now what is this, and what is that?”, “Frederic here! Oh, joy! Oh, rapture!”, “With base deceit you worked upon our feelings!”, “You/We triumph now”, “Away with them, and place them at the bar!”, “Poor wandering ones!”