The Impressario: Ich Bin Die Erste Sangerin (Der Schauspieldirektor) Cover Image

The Impressario: Ich Bin Die Erste Sangerin (Der Schauspieldirektor): Conductor Score & Parts

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The Impressario: Ich Bin Die Erste Sangerin (Der Schauspieldirektor) Cover Image

The Impressario: Ich Bin Die Erste Sangerin (Der Schauspieldirektor): Conductor Score & Parts

By Wolfgang Amadeus Mozart

Item: 36-A625103

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 660355142086
SKU: 36-A625103
Instrumentation: 0, 2, 2, 2 - 2, 0, 0, 0, str, soli SST

More about this title

About the Composer: Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756-1791) composed across every major genre of his time, creating works that balanced technical brilliance with emotional directness. His chamber operas and stage works reveal a composer who understood theatrical timing, character development through music, and the particular demands of the human voice with precision that remains unmatched.

Why we love this

This aria sits at the intersection of Mozart's operatic gift and his mastery of the ensemble. The orchestration is elegant without being heavy, allowing three soloists to shine while the chamber scoring keeps rehearsal manageable and the musical focus sharp. Programming it gives your orchestra genuine Classical opera repertoire rather than the standard ballet suite or overture.

What to expect

Witty and conversational, with the playful energy of backstage intrigue. The orchestration sparkles in moments and settles into warm harmonic support in others, creating the feeling of three characters negotiating their importance in a world that revolves around the stage.

Who it's for

Chamber orchestras and smaller opera ensembles looking for Classical repertoire that showcases singers alongside instrumental musicianship. Conductors who want to program Mozart opera without the scale of a full-length work will find this aria both performable and genuinely theatrical.

How to get the most out of it

  • Balance the three solo voices as equal characters, not supporting roles. Each singer needs clear hearing from the orchestra without the accompaniment drowning them out.
  • The oboes and clarinets carry much of the harmonic color; keep their entrances clean and their phrasing shaped so the orchestral sound sits naturally behind the voices.
  • Coordinate carefully with your soloists before the first rehearsal. This is a comedic piece (Ich bin die erste Sangerin means "I am the first singer"), and clarity between conductor and singers accelerates the musical storytelling.

How to use it

Pair this with other operatic excerpts or chamber works to build a program that explores Classical theatrical music. It works equally well as a centerpiece for a concert featuring Mozart or as part of a broader opera gala with full ensembles.

Skills your students will build

  • Conducting coordination with vocal soloists
  • Balancing chamber scoring with sung text
  • Ensemble precision in Classical opera accompaniment
  • Shaping phrase relationships between voice and orchestra

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