Musical Theatre for Classical Singers - Tenor

48 songs. Contents: Beautiful Girls (Follies) • Boy for Sale (Oliver!) • The Breeze Kissed Your Hair (The Cat and the Fiddle) • Bring Him Home (Les Misérables) • Come with Me (The Boys from Syracuse) • The Contest (Sweeney Todd) • Fanny (Fanny) • Finishing the Hat (Sunday in the Park with George) • Geraniums in the Winder (Carousel) • Giants in the Sky (Into the Woods) • I Am Aldolpho (The Drowsy Chaperone) • I Will Follow You (Milk and Honey) • Il mondo era vuoto (The Light in the Piazza) • Johanna (Sweeney Todd) • Ladies in Their Sensitivities (Sweeney Todd) • Later (A Little Night Music) • Lonely House (Street Scene) • Love to Me (The Light in the Piazza) • A Man Could Go Quite Mad (The Mystery of Edwin Drood) • Many Moons Ago (Once Upon a Mattress) • Maria (West Side Story) • The Music of the Night (The Phantom of the Opera) • A New Love Is Old (The Cat and the Fiddle) • Night of My Nights (Kismet) • No Moon (Titanic) • Not While I'm Around (Sweeney Todd) • On the Street Where You Live (My Fair Lady) • The Only Home I Know (Shenandoah) • Passeggiata (The Light in the Piazza) • The Proposal (Titanic) • She Wasn't You (On a Clear Day You Can See Forever) • Someone Is Waiting (Company) • Something's Coming (West Side Story) • Springtime for Hitler (The Producers) • Stay (Do I Hear a Waltz?) • Stranger in Paradise (Kismet) • Take the Moment (Do I Hear a Waltz?) • Tonight at Eight (She Loves Me) • Tschaikowsky (And Other Russians) (Lady in the Dark) • The Wild Justice (Lost in the Stars) • Wish You Were Here (Wish You Were Here) • You Are Beautiful (Flower Drum Song) • You Are Never Away (Allegro) • You Walk with Me (The Full Monty) • You're Devastating (Roberta) • You've Got to Be Carefully Taught (South Pacific) • Younger Than Springtime (South Pacific).

“At last we have four good volumes of real singing songs from mostly pre-1970 music theater productions suitable for classically trained singers...The editor's excellent Preface addresses the need for classical singers to be at home with music theater, gives notes on the compilation itself, on common pitfalls for classical singers choosing a song, on the necessity for nonoperatic, 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